the history of research on creativity - william and...

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The History of The History of Research on Research on CreativityCreativity

Eastern Michigan UniversityEastern Michigan UniversityKyungKyung--HeeHee Kim, Ph.D.Kim, Ph.D.

CreativityCreativitycan come in many formscan come in many forms

What does creativity look What does creativity look like?like?

The Genius?The Genius?The child?The child?Is it the same all over Is it the same all over the world?the world?

Is creativity the sole Is creativity the sole province of the province of the

eminent?eminent?

……Or is there Or is there creativity in the art creativity in the art work of a child?work of a child?

……Or in folk art?Or in folk art?

Korean Folk Carving - Jizo-19th C.

……or in the behavior or in the behavior of this of this unconventional unconventional scientist?scientist?Nobel prize winnerNobel prize winnerLSD userLSD user

Kari MullisKari Mullis

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Creativity?Creativity?Ability to produce work that is novel & appropriate Ability to produce work that is novel & appropriate

(Sternberg & (Sternberg & LubartLubart, , ’’91, 91, ’’95, 95, ’’96, etc.)96, etc.)

Broader ViewBroader ViewConnection between creativity, invention & national Connection between creativity, invention & national

economic prosperity economic prosperity (Torrance, (Torrance, ‘‘92).92).

Extremely important to nationExtremely important to nation’’s economy s economy (Sternberg & (Sternberg & LubartLubart, , ‘‘99) 99)

Big CBig C: Changes in the world like Einstein: Changes in the world like Einstein’’s work s work (Torff,(Torff,’’99)99)

Small cSmall c: : ‘‘cc’’ of everyday life of the average personof everyday life of the average person

C & cC & c

C C ---- works of geniusworks of genius c c ---- everyday creativityeveryday creativity

Painting by Renoir Nutritious meal by busy Parent

SpiritualSystems

Behavioral

Huistic

Cog veThere are several There are several schools of thoughtschools of thought

The Ancients:The Ancients:Mystical ApproachesMystical Approaches

Gift from the musesGift from the musesInspiration from the Latin, Inspiration from the Latin, inspirareinspirare, , meaning to meaning to ““breathe inbreathe in””

Historical focusHistorical focus

GeniusGenius⇒⇒ GiftednessGiftedness⇒⇒ CreativityCreativity

The Ancients:The Ancients:Mystical Approaches Mystical Approaches --------cont'dcont'd

Greeks: The oldest idea of genius: Greeks: The oldest idea of genius: Mystical powers of protection & good Mystical powers of protection & good fortune fortune (Albert & (Albert & RuncoRunco, 1999), 1999)

•• Madness & frenzied inspiration Madness & frenzied inspiration (Aristotle)(Aristotle)

•• Divine madness, a gift from the gods Divine madness, a gift from the gods (Plato)(Plato)

•• View Reappeared during 19View Reappeared during 19thth (Albert & (Albert & RuncoRunco, , 1999)1999)

Romans: Guardian spirit Romans: Guardian spirit ((RyhammarRyhammar & & BrolinBrolin, , 1999)1999)

Made it harder for scientific researchMade it harder for scientific researchUntil early RenaissanceUntil early Renaissance

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Philosophical Antecedents Philosophical Antecedents to Research on Creativityto Research on Creativity

Indirect influence Indirect influence ---- RenaissanceRenaissancePower of discovery & disruption of cultural & religious Power of discovery & disruption of cultural & religious paradigms paradigms (Copernicus, Galileo, & Newton)(Copernicus, Galileo, & Newton)

Direct influence Direct influence Wealth of NationsWealth of Nations (Smith, 1776)(Smith, 1776)

Essay on Population Essay on Population ((MalthusMalthus, 1798) , 1798)

Theory of Adaptation in survival Theory of Adaptation in survival (The Origin of Species, Darwin, (The Origin of Species, Darwin, 1859)1859)

Beginning of Applying Beginning of Applying Empirical MethodsEmpirical Methods

GaltonGalton’’ss Hereditary GeniusHereditary Genius (1869)(1869)

Unintended influence of Smith, Unintended influence of Smith, MalthusMalthus, & , & DarwinDarwinSystematic study of geniusSystematic study of genius

Large dataLarge dataTracing inheritance of ability in accomplished Tracing inheritance of ability in accomplished familiesfamilies

Two InterestsTwo InterestsIndividual DifferencesIndividual DifferencesEugenics Eugenics

Psychometric ApproachesPsychometric ApproachesSince Since GaltonGalton

Measuring individual differences in intelligenceMeasuring individual differences in intelligence((BinetBinet & Spearman, 1904; & Spearman, 1904; TermanTerman) )

TermanTerman’’ss Genetic Study of GeniusGenetic Study of Genius (1925, 1926, (1925, 1926, 1930, 1947, 1954)1930, 1947, 1954)

Genius Genius ⇒⇒GiftednessGiftednessConceptual framework from Conceptual framework from GaltonGaltonMethodological challengeMethodological challengeEducational & social implicationEducational & social implicationBut, narrow focus on IQ & exclusion of But, narrow focus on IQ & exclusion of

creativity creativity (Albert & (Albert & RuncoRunco, 1999), 1999)

Beginning of Applying Beginning of Applying Empirical MethodsEmpirical Methods ------ cont'dcont'd

Sir Francis Sir Francis GaltonGaltonGenius as hereditaryGenius as hereditaryDisconnecting Disconnecting ‘‘cc’’ from tie from tie of Mysticism of Mysticism (Sternberg & (Sternberg & LubartLubart, 1996) , 1996)

Beginning of applying Beginning of applying empirical methods empirical methods (Becker, (Becker, 1995;James, 1992)1995;James, 1992)

Psychometric Approaches Psychometric Approaches ------ cont'dcont'd

CoxCox (1926)(1926)

To examine To examine GaltonGalton’’ss conclusionconclusionImproved Improved GaltonGalton’’ss work work (Albert & (Albert & RuncoRunco, 1999), 1999)

Broader & larger SampleBroader & larger SampleObjectively & deliberately used biographical Objectively & deliberately used biographical & & socioculturalsociocultural data data


GuilfordGuilfordInitiation of a proper discussionInitiation of a proper discussion

Giftedness Giftedness ⇒⇒ CreativityCreativityIQ test can explain not allIQ test can explain not allRarity limits research Rarity limits research ((Creativity, Creativity, 1950)1950)

Divergent thinkingDivergent thinkingMethodMethod

Supporting a relationship between cognitive & Supporting a relationship between cognitive & creative creative ((The Nature of human Intelligence, The Nature of human Intelligence, 1967) 1967)

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E. Paul TorranceE. Paul TorranceEducational OrientationEducational OrientationCreativity can be nurturedCreativity can be nurturedAvailable to allAvailable to all

TThe Torrance Tests of Creative Thinkinghe Torrance Tests of Creative Thinking ((1966)1966)

Divergent thinking: An important component Divergent thinking: An important component Tests: Useful estimates of the potential for C Tests: Useful estimates of the potential for C ((RuncoRunco, 1991), 1991)

Making research possible with nonMaking research possible with non--eminenteminentBut, But, nonnon--eminent samples cannot represent eminent samples cannot represent (Sternberg & (Sternberg & LubartLubart, 1999) , 1999)


Evaluation of psychometric approachesEvaluation of psychometric approachesFacilitating research by providing Facilitating research by providing assessment device assessment device But, more significant productions are better But, more significant productions are better (Sternberg & (Sternberg & LubartLubart, , ’’99)99)

Psychodynamic ApproachesPsychodynamic Approaches

CreativityCreativityStemming from the tension between conscious reality & Stemming from the tension between conscious reality & unconscious drivesunconscious drivesSublimation of drives Sublimation of drives

The relation of the poet to dayThe relation of the poet to day--dreaming (dreaming (Sigmund Freud, 1908/1959)Sigmund Freud, 1908/1959)The ego & the mechanisms of defenseThe ego & the mechanisms of defense (Anna Freud, 1966)(Anna Freud, 1966)

Creative workCreative workA way of reducing the tension created by unacceptable A way of reducing the tension created by unacceptable desiresdesiresA way to express their unconscious wishes in a publicly A way to express their unconscious wishes in a publicly acceptable fashion acceptable fashion

power, riches, fame, sexual desire, love, etc.power, riches, fame, sexual desire, love, etc.Leonardo Leonardo dada Vinci & a memory of his childhood (Vinci & a memory of his childhood (Sigmund Freud, 1910/1964)Sigmund Freud, 1910/1964)

Psychodynamic Psychodynamic Approaches Approaches ------ cont'dcont'd

Sigmund FreudSigmund FreudPsychoanalytic viewPsychoanalytic viewSublimation of repressed desiresSublimation of repressed desiresUnfulfilled fantasiesUnfulfilled fantasies

Psychodynamic Psychodynamic Approaches Approaches ------ cont'dcont'd

Evaluation of psychodynamic Evaluation of psychodynamic approachesapproaches

Offering insights intoOffering insights intoBut, subjective interpretations than But, subjective interpretations than empirical investigationsempirical investigations ((RyhammarRyhammar & & BrolinBrolin, 1999), 1999)

Cognitive ApproachesCognitive Approaches

Understanding mental representations & Understanding mental representations & processes underlying creativity processes underlying creativity (Sternberg & (Sternberg & LubartLubart, , 1999) 1999)

Human subjects Human subjects (e.g., Finke et al, 1992)(e.g., Finke et al, 1992)

Computer simulations Computer simulations (e.g., Langley et al., 1987; Johnson(e.g., Langley et al., 1987; Johnson--Laird, Laird, 1988) 1988)

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Cognitive Approaches Cognitive Approaches ------ cont'dcont'd

Evaluation of cognitive approachesEvaluation of cognitive approachesResults of cognitive training programsResults of cognitive training programsSpecial skills can be trainedSpecial skills can be trained

But, hard to transfer to But, hard to transfer to (Vernon, 1989)(Vernon, 1989)

Can improve divergent thinking test scoresCan improve divergent thinking test scoresBut, cannot find more creative scientists or But, cannot find more creative scientists or artists resulting artists resulting ((CropleyCropley, 1997), 1997)

Personality ApproachesPersonality Approaches

Personality ResearchPersonality ResearchRelationship between personality traits Relationship between personality traits & creativity in art, science, & & creativity in art, science, & technology technology (Mackinnon, 1975; Chamber, 1964; (Mackinnon, 1975; Chamber, 1964; EidusonEiduson, 1974; , 1974; Simonton, 1984, etc.) Simonton, 1984, etc.)

Positive or negative relationships Positive or negative relationships between some personality traits & between some personality traits & creativity creativity ((EisenmanEisenman, 1997, etc.), 1997, etc.)

Personality Approaches Personality Approaches ------ cont'dcont'd

Being ChildlikeBeing ChildlikeCreatorsCreators’’ behaviors & thinking behaviors & thinking (Gardner, 1994)(Gardner, 1994)

Seeing like a child Seeing like a child ---- PicassoPicassoSeeing things as if for the first Seeing things as if for the first time is a mark: Innocence to time is a mark: Innocence to experience leads to C experience leads to C (Barron, 1995)(Barron, 1995)

Personality Approaches Personality Approaches ------ cont'dcont'd

Evaluation of personality approachesEvaluation of personality approachesSelecting subjects: narrow & distorted Selecting subjects: narrow & distorted Not principally explanatory Not principally explanatory Difficult to compare Difficult to compare ((RyhammarRyhammar & & BrolinBrolin, , ’’99)99)

Apparently Contradictory behavior Apparently Contradictory behavior patterns patterns ((EysenckEysenck, , ’’97)97)

Behaviorist ApproachesBehaviorist Approaches

B. F. SkinnerB. F. SkinnerNot extraordinaryNot extraordinaryIncrementalIncrementalPredictablePredictableChanceChance

Humanistic ApproachesHumanistic ApproachesCreativityCreativity

IndividualIndividual’’s striving for selfs striving for self--actualization to realize their full actualization to realize their full potential potential ((MaslowMaslow, 1968, 1959, 1970; Rogers, 1954), 1968, 1959, 1970; Rogers, 1954)

Abraham Abraham MaslowMaslowSpontaneous expression of the person Spontaneous expression of the person whose more basic needs have been whose more basic needs have been satisfied satisfied (1968)(1968)

Optimal mental healthOptimal mental healthTotal fulfillment of human potentialTotal fulfillment of human potentialS i l t l t ti f lifS i l t l t ti f lif

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Humanistic Approaches Humanistic Approaches ------ cont'dcont'dCarl Rogers Carl Rogers

Creativity Creativity (1954)(1954)

Is motivated by peopleIs motivated by people’’s selfs self--actualizing actualizing tendenciestendenciesIs available to everyone, but not everyone Is available to everyone, but not everyone achieves itachieves itMust occur in a context of selfMust occur in a context of self--evaluation rather evaluation rather than being driven by a concern with being than being driven by a concern with being evaluate by othersevaluate by others

Psychological safetyPsychological safety

Confluence ApproachesConfluence Approaches

The Background of ConfluenceThe Background of ConfluenceSocial psychological interactive view aroseSocial psychological interactive view arose

Linking C to environmental variables Linking C to environmental variables (Simonton, 1984 , 1994ab) (Simonton, 1984 , 1994ab)

CrossCross--cultural comparisons cultural comparisons ((LubartLubart, 1990), 1990) & & anthropological case studies anthropological case studies (Silver, 1981)(Silver, 1981)

ResultsResults:: Cultural diversity in the expression of & amount Cultural diversity in the expression of & amount of Cof C

Analysis of 100 recent doctoral dissertationAnalysis of 100 recent doctoral dissertationResult :Result :the blind men & the elephantthe blind men & the elephant ((CsikszentmihalyiCsikszentmihalyi etc., 1991)etc., 1991)

∴∴ Multiple components must convergeMultiple components must converge (Sternberg & (Sternberg & LubartLubart))

Confluence Approaches Confluence Approaches ------ cont'dcont'd

Two Confluence Two Confluence TheoriesTheories

CsikszentmihalyiCsikszentmihalyi’’ss System System TheoryTheory (1988)(1988)

↙↙Travelers on a mountain path Travelers on a mountain path (Fan(Fan--KuanKuan, 1000 A.D.), 1000 A.D.)

C can be explained only when C can be explained only when social or cultural factors are social or cultural factors are consideredconsidered

:

Csikszentmihalyi’s System TheoryCreativity : Only at the intersection where Persons,

Fields, & Domains interact Each of the three elements is necessary for

Creativity

Csikszentmihalyi’s System Theory --- Cont’d

Creativity Creativity Not the product of single individualsNot the product of single individualsBut of social systems making judgments But of social systems making judgments about individualabout individual’’s productss productsThe judgments rely on The judgments rely on

past experience, training, cultural biases, current past experience, training, cultural biases, current trends, personal values, idiosyncratic trends, personal values, idiosyncratic preferencespreferences


Field Field Social organization of the domainSocial organization of the domain

Teachers, critics, journal editors, museum Teachers, critics, journal editors, museum curators, agency directors, Nobel Prize curators, agency directors, Nobel Prize nominators, etc.nominators, etc.Leonardo Leonardo dada Vinci constantly moved to wherever Vinci constantly moved to wherever he could pursue his work with the least hindrancehe could pursue his work with the least hindranceHow much creativity there is not determined just How much creativity there is not determined just by how many original individuals try to change by how many original individuals try to change domains, but also by how receptive the fields are domains, but also by how receptive the fields are to innovationto innovation

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Domain Domain E.g., music, mathematics, religion, technologiesE.g., music, mathematics, religion, technologies

Cultures are made up of a variety of domainsCultures are made up of a variety of domainsWithout social valuation, a new meme might have originality, Without social valuation, a new meme might have originality, but not creativitybut not creativityA society can influence the frequency & intensity of new A society can influence the frequency & intensity of new memesmemesA society is open to novelty or not depends on its social A society is open to novelty or not depends on its social organizationorganization

Farming society : less open to Farming society : less open to Chinese society (A central authority supported by a powerful Chinese society (A central authority supported by a powerful bureaucracy) bureaucracy) ––the use of gunpowder for weapons & movable type the use of gunpowder for weapons & movable type for the printing of books as bad ideasfor the printing of books as bad ideas

Now, trying to catch upNow, trying to catch upSocieties based on commerce: more open to Societies based on commerce: more open to


Person Person Whether an individual is born in an environment that has enough Whether an individual is born in an environment that has enough surplus energy to encourage the development of curiosity & intersurplus energy to encourage the development of curiosity & interestest

Access to the basic tools of a domainAccess to the basic tools of a domain——books, computers, museums, books, computers, museums, musical instrument, schooling, intellectual stimulation, parentamusical instrument, schooling, intellectual stimulation, parental l expectations for educational attainment, & mentorsexpectations for educational attainment, & mentorsE.g., Jewish & AsianE.g., Jewish & Asian--AmericanAmerican

Outsiders to the societies in which they worked Outsiders to the societies in which they worked (Gardner, 1993)(Gardner, 1993) ——A A person who is comfortably settled in the bosom of society has feperson who is comfortably settled in the bosom of society has fewer wer incentives to change the status quoincentives to change the status quo

Einstein: Germany Einstein: Germany →→ Switzerland Switzerland →→Italy Italy →→U.S.U.S.Gandhi: South Africa Gandhi: South Africa →→ IndiaIndiaStravinsky: Stravinsky: →→ Russia Russia →→ U.S.U.S.Eliot: U.S. Eliot: U.S. →→ EnglandEnglandMartha: South Martha: South →→ CACAFreud: Jewish in Catholic ViennaFreud: Jewish in Catholic ViennaPicasso: Spain Picasso: Spain →→ FranceFrance


Person Person LeftLeft--handers are overrepresented in art, architecture, & music handers are overrepresented in art, architecture, & music ((CorenCoren, , 1992; Paul, 1993)1992; Paul, 1993)Alexander the GreatAlexander the GreatLeonardoLeonardoMichelangeloMichelangeloRaphaelRaphaelPicassoPicassoEinsteinEinsteinClinton, Bush, & PerotClinton, Bush, & PerotMore rate of suicide, alcoholism, drug addiction, & institutionaMore rate of suicide, alcoholism, drug addiction, & institutionalization lization for nervous diseases in drama, poetry, & music for nervous diseases in drama, poetry, & music ((JablowJablow & & LiebLieb, 1988; , 1988; Jamison, 1989; Martindale, 1989; Richards, 1990)Jamison, 1989; Martindale, 1989; Richards, 1990)

Confluence Approaches Confluence Approaches ------ cont'dcont'd

Csikszentmihalyi’s FlowFlowOptimal experienceOptimal experience

1.Challenges = Skills1.Challenges = Skills2.Clear goals, clear feedback2.Clear goals, clear feedback3.Merging action & 3.Merging action & awarenessawareness4.Full attention4.Full attention5.Sense of control5.Sense of control6.Absence of self6.Absence of self--consciousnessconsciousness7.Distorted sense of time7.Distorted sense of time8.Intrinsic motivation8.Intrinsic motivation

Sternberg’s Investment Theory (Sternberg & Lubart, 1999)

Will & can buy low & sell high in C

Six resources

Confluence Approaches Confluence Approaches ------cont'dcont'd

Intellectual abilitiesKnowledgeStyles of thinking

PersonalityMotivationEnvironment

Confluence Approaches Confluence Approaches ------cont'dcont'd

SternbergSternberg’’s s TriarchicTriarchic Theory of Theory of IntelligenceIntelligence

AnalyticAnalytic----as measured on aptitude testsas measured on aptitude testsSynthetic Synthetic ––creativecreativePracticalPractical----common sensecommon sense

Levels of success depend onpatterns of giftednesslevels & balances of the three abilitiesthe interaction of the individuals & the

environment

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AssumptionsAssumptions

Creativity is Creativity is valuedvaluedEveryone has Everyone has some creativity & some creativity & it can be nurturedit can be nurturedCreative Creative strategies & strategies & dispositions can dispositions can be developedbe developed

Are there levels as well as Are there levels as well as different types of Creativity?different types of Creativity?I.E. TaylorI.E. Taylor

ExpressiveExpressive----spontaneous drawings of childspontaneous drawings of childProductiveProductive----artistic & scientific products artistic & scientific products within restrictionswithin restrictionsInventiveInventive----ingenuity is displayed with ingenuity is displayed with materials, methods, & techniquesmaterials, methods, & techniquesInnovativeInnovative----improvement through improvement through modification involving conceptualizingmodification involving conceptualizingEmergenativeEmergenative----entirely new school of entirely new school of thoughtthought

Creativity is the Creativity is the confluence of...confluence of...

Inherited talents, Inherited talents, temperament, brain temperament, brain organization, etc.organization, etc.Environmental Environmental opportunitiesopportunitiesHard work & practiceHard work & practiceChance or luckChance or luck

What is creative?What is creative?And to what degree something is creative And to what degree something is creative is a personal & societal decision,is a personal & societal decision,……sometimes one that is made long after sometimes one that is made long after the individual diesthe individual dies

UltimatelyUltimately……

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Can we measure creativity?

Kyung Hee Kim, Ph.D.Eastern Michigan University

Creativity Activity

E. Paul Torrance

“Father of Creativity,” is best known for developing the Torrance Tests of Creative Thinking (TTCT) TTCT

was developed in 1966 (1966, 1974, 1980, 1998).

translated into over 35 languages (Millar, 2002)

highly recommended in the educational field & is even used in the corporate world

TTCT merits

Is the most widely used test of creativity (Colangelo& Davis, 1997).

Is the most referenced of all creativity tests (Lissitz & Willhoft, 1985).

Is especially useful for identifying gifted & talented students because:

Standardized administration & scoring procedures (Davis & Rimm, 1994)

Long development & evaluation (Colangelo & Davis, 1997)

Proved validity from the longitudinal studies

Use in Identifying Gifted Students

Difference between IQ & CreativityBroaden the scope of identified gifted students

Identification based on IQ eliminates 70 percent of the top 20 percent of creative (Torrance, 1960b, 1962, 2002)

Most assessments focus on verbal & quantitative ability (Torrance,1977)

Include ESOL students for gifted programs (Torrance,1977)

Fair in terms of gender, race, community status, and for persons with a different language background, socioeconomic status, and culture (Cramond, 1993; Torrance, 1971, 1977, Torrance & Torrance, 1972)

Use in Identifying Gifted Students(Problems with teacher recommendation)

Teachers tend to: overlook disruptive or unconventional creative students (Davis & Rimm, 1994).

prefer gifted children who are low in creativity (Anderson, 1961; Getzels & Jackson, 1958)

identify students who are achievers & teacher pleasers (Davis & Rimm, 1994; Oliphant, 1986; Rimm & Davis, 1976; Ritchie, 1980; Robinson, 1980).

Even worse, energetic & unconventional students to be seen as having ADHD (Cramond, 1994).

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TTCT Verbal

Thinking Creatively with Wordsalternate forms A & B; Kindergarten-Adult6 activities, 5 or 10 minutes each, multiple responses1-3. Ambiguous picture

Ask questionsGuess CausesGuess consequences

4. Product Improvement5. Unusual Uses6. Just suppose

TTCT Verbal

Activities 1-3: Ask & Guess are based on one picture...

BA

TTCT Verbal

Act 4: Product ImprovementThe task is to improve a toy so that it is more fun to play with

10 Minutes10 minutes

TTCT Verbal

Act. 5: Unusual UsesThe task is to think of alternative uses for a

common object like a brick.Uses for parts of the objects are acceptable--eg. “Crush the brick to make a powder for coloring”Fantastic or impossible uses beyond all possible reality are not counted.

10 minutes

TTCT Verbal

Act. 6: Just SupposeHypotheses about an improbable situation

Example:

Just Suppose…we could transport ourselves anywhere we

want with just a twitch of the nose or blink or the eye. What

would be some problems, benefits, etc. of this situation?

10 minutes

TTCT--Figural

Thinking Creatively with PicturesAlternate forms A & B; K- adult3 activities, 10 minutes each, multiple responses

1) One large stimulus figure: picture construction

2) Ten incomplete figures: picture completion

3) 2-3 pages of repeated figures: repeated figures of lines or circles

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Scoring Components

FluencyOriginalityAbstractness of titlesElaborationResistance to Premature ClosureChecklist of Creative Strengths

Fluency--a count of the number of relevant ideas

The stimulus must be used

Originality

a count of the number of statistically infrequent ideas Bike

Originality List for CirclesThese are NOT original

Animal-un AppleBall Car Cat CircleClockCoinDotsEarth (globe, planet-un) EggEyes

Fruit-unGlassesHuman face or figureLettersMoonNumbersPieSign-unSnowmanStoplightSunWheel or tire

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Abstractness of Titles

0 = simple class title “girl”1 = class title with descriptor(s) “little girl”2 = imaginative title that goes a little beyond the picture “I really like him.”3 = abstract but appropriate title “Happiness”

Abstractness of Titles: Degree beyond labeling

0 = simple class title


1 = class title with one or more descriptors


2 = imaginative title that goes beyond, but is still tied to, the concrete representation

Elaboration--a count of the number of ideas added

Beyond the minimum details that would be necessary for the basic response

Elaboration

One point for each additional idea added to the basic response & in the surrounding spaceAdditional ideas include: decoration, details, shading, body position, etc.

smokeshape

ashmore

Roof detail

panes

chimney

sun

outline

Varied rays

tree

branches

Stepping stone

Different shapesleaves

flower

knob

Additional tree

petals Colors=12

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Resistance to Premature Closure

Degree of opennessBased on Gestält psychology

Scored on incomplete figures only

Resistance to Premature Closure, 0 Scores:

Focal area is closed with 1-3 straight or curved lines & all details are inside the closed area.


The figure is closed quickly, but details are added outside of the closure


The figure is used intact, but it becomes part of a pictured object

Checklist of Creative Strengths

13 criterion referenced indicators:Emotional expressivenessStorytelling articulatenessMovement or actionExpressiveness of titlesSynthesis of figuresUnusual or internal visualizationBoundary breakingHumorRichness or colorfulness of imageryFantasy

1.Emotional ExpressivenessCan be shown in drawings or title

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2.Storytelling Articulateness

There’s a story implied or there is a relationship between or among objects drawn

3. Movement or ActionMay be illustrated through

Motion linesTitle implying actionPosition of body

4. Expressiveness of TitlesA title that goes beyond simple description to express emotion & feeling (overlaps with Emotional Expressiveness, Humor & Abstractness of Titles)

5.Synthesis of Incomplete Figures--scored on activity 2 only

This is rare, & one combination gets a +, two or more combinations get a ++

7.Unusual Visual Perspective

A view other than the one we would ordinarily see: Above, Below, At an unusual angle, At different distances, In an unusual position

8. Internal VisualizationShowing something inside or in cross section

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9. Extending or Breaking Boundaries: Scored on Act 3

For Form A, Parallel lines:Extend the lines up, down, or outSplit the imaginary rectangle

9. Extending or Breaking Boundaries-- Scored on Act 3

For Form B, Circles:Depth perception, circle as base extended upward or outward, hole cut in circle

10. HumorScored for the

intent of humor: word plays, satire, silliness, absurdities, etc.

11. Richness of ImageryFresh visual images--different from the banal even when not scored as originalLively, vivid, memorable imagesThere must be 4-5 such images to get +; 6 or more for ++

12. Colorfulness of ImageryExciting in appeal to the sensesFlavor, earthiness, spookiness, touching

Nature, nudes, fantasy figures, emotional scenes, etc.

13. Fantasy

Includes both fantasy from literature, tv, & movies as well as original fantasy

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Creative Strengths

One drawing can have more than one Creative Strength

Unusual visualizationFantasyMovement or action

Creative StrengthsThree Creative Strengths

Synthesis of figuresMovement or actionStorytelling articulateness

Gun sounds scare the birds.

TTCTLongitudinal Studies

The Minnesota Studies1958-1964, all students in grades 1-6 in two elementary schools took the TTCT each year. 1959-1964, all students in grades 7-12 of the University of Minnesota High School took the TTCT.

Torrance conducted longitudinal studies with these children 7years, 12 years, 22 years, & 40 years laterCreativity scores predicted the children’s later creative achievement better than IQ scores.

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EDPS 614 CHs.4 & 6EDPS 614 CHs.4 & 6

Kyung Hee Kim, Ph.D.Kyung Hee Kim, Ph.D.Eastern Michigan Eastern Michigan

UniversityUniversity

Issues in Experimental Studies of Issues in Experimental Studies of CreativityCreativity

TradeTrade--off between internal validity & external validity off between internal validity & external validity ((RuncoRunco & Sakamoto, 1999)& Sakamoto, 1999)

Spontaneity / controlSpontaneity / controlNovel or unpredictability / accuracy of predictionsNovel or unpredictability / accuracy of predictions

RepresentativenessRepresentativeness of the behaviors sampled of the behaviors sampled Creative people?Creative people?Creativity tests? Creativity tests? Only certain components & traits from creativity complexOnly certain components & traits from creativity complex

Eminent creators are ignored Eminent creators are ignored ““Regression toward the meanRegression toward the mean”” among gifted samplesamong gifted samples

Information & CreativityInformation & CreativityInformation is vital for creative thinking & creative Information is vital for creative thinking & creative performance performance ((RuncoRunco & Sakamoto, 1999)& Sakamoto, 1999)

Creative persons tend to be immersed in their fields Creative persons tend to be immersed in their fields (Albert, 1994)(Albert, 1994)

A minimum of 10 years of work necessary for expertise for expertA minimum of 10 years of work necessary for expertise for expertise ise to develop to develop (Simon & Chase, 1973)(Simon & Chase, 1973)

Effects are more gradual than predicted by Gestalt theory & Effects are more gradual than predicted by Gestalt theory & models of sudden insightmodels of sudden insight

But, too much information can lead to rigidity & fixityBut, too much information can lead to rigidity & fixityE.g., Audio, video, & text information E.g., Audio, video, & text information (Greenfield, (Greenfield, GeberGeber, Beagles, Beagles--RoosRoos, , Farrar, & Gat, 1981)Farrar, & Gat, 1981)

An optimal level of experience for creative work An optimal level of experience for creative work ((MartinsenMartinsen, , 1995) 1995)

Attention & CreativityAttention & Creativity

Creative thinking is related to a broad Creative thinking is related to a broad attentionalattentional capacity capacity (cited in (cited in RuncoRunco & Sakamoto, 1999)& Sakamoto, 1999)

ChildrenChildren’’s creativity benefits from a rich s creativity benefits from a rich environmentenvironment

Only when they direct their attention in various & Only when they direct their attention in various & diverse directionsdiverse directions

Noise inhibits creativity Noise inhibits creativity Especially, unpredictable & intelligible noiseEspecially, unpredictable & intelligible noise

Intrinsic Motivation & CreativityIntrinsic Motivation & Creativity

Expectation of evaluation & reward inhibit Expectation of evaluation & reward inhibit creativity creativity

Especially originalityEspecially originalityIntrinsic motivation facilitates novel behavior & Intrinsic motivation facilitates novel behavior & original workoriginal work

Not technical quality of the creative products Not technical quality of the creative products ((AmabileAmabile, Goldfarb, & , Goldfarb, & BrackfieldBrackfield, 1990), 1990)

Younger children are less sensitive Younger children are less sensitive (Hennessey, 1989)(Hennessey, 1989)

Affect & CreativityAffect & Creativity

Inverse relationship between Inverse relationship between constraint & creativityconstraint & creativity

Anxiety inhibited mathematical Anxiety inhibited mathematical fluency fluency (Smith, Michael, & (Smith, Michael, & HhocevarHhocevar, 1990), 1990)

But, depression facilitated But, depression facilitated criticism of onecriticism of one’’s own works own work

Moderate challenging affect Moderate challenging affect elicited the most original elicited the most original problem solvingproblem solving

E.g., E.g., Conflict & tensionConflict & tensionConstraint & excessive Constraint & excessive structure in classrooms structure in classrooms

Yerkes-Dodson Law

0

1

2

3

4

5

0 1 2 3 4 5

Anxiety

Test Performance

Curvilinear RelationshipsCurvilinear Relationships

2

Classroom & CreativityClassroom & CreativityTraditional School & CreativityTraditional School & Creativity

Mismatch between Mismatch between traditional school traditional school environments & highly environments & highly creative students creative students ((AmabileAmabile, 1989; , 1989; GoertzelGoertzel & & GoertzelGoertzel, 1960) , 1960)

60 % of 400 eminent 60 % of 400 eminent creators had serious creators had serious school problems school problems

Convergence & Divergence

Norman Rockwellillustrates a businessmanlooking at a Jackson Pollackpainting.

Case Studies of CreativityCase Studies of Creativity

What is a creative case? What is a creative case? (Gruber & Wallace, 1999)(Gruber & Wallace, 1999)

The creative product must beThe creative product must beNovel (Novelty)Novel (Novelty)Valuable by some external criteria (Value)Valuable by some external criteria (Value)The result of purposeful behavior (Purpose)The result of purposeful behavior (Purpose)

One difficulty of achieving a creative outcome arises from the One difficulty of achieving a creative outcome arises from the need to make it compatible with human purposes & with the need to make it compatible with human purposes & with the society & culturesociety & cultureWhen the gap between the creator & others: modifying the work When the gap between the creator & others: modifying the work oror educatingeducating the potential audiencethe potential audience

The result of a long undertaking (Duration)The result of a long undertaking (Duration)A purpose is part of motivation to go on working for long A purpose is part of motivation to go on working for long periods or for a lifetimeperiods or for a lifetime

Case Studies of Creativity:Case Studies of Creativity:What do you look for?What do you look for?

Multiple Facets Multiple Facets (Gruber & Wallace, 1999)(Gruber & Wallace, 1999)

UniquenessUniquenessLike all others/like some others/like no othersLike all others/like some others/like no others

The EpitomeThe EpitomeWhat the creator achieved & how this compares with What the creator achieved & how this compares with others to understand the obstaclesothers to understand the obstacles

Systems of beliefSystems of beliefIn the historical situationIn the historical situation

Modalities of thoughtModalities of thoughtMultiple timescalesMultiple timescales

From the momentFrom the moment--byby--moment flow of work to the moment flow of work to the historical situationhistorical situation

Case Studies of Creativity:Case Studies of Creativity:What do you look for?What do you look for? ----continuedcontinued

Purposeful work & networks of enterprisePurposeful work & networks of enterpriseEnterprise: an enduring group of related activities aimed Enterprise: an enduring group of related activities aimed at producing a series of kindred productsat producing a series of kindred products

Problem solvingProblem solvingThe creator is not necessarily a better problem solverThe creator is not necessarily a better problem solverRather develop a new point of view & the determination Rather develop a new point of view & the determination to reexamine every problem from that perspectiveto reexamine every problem from that perspective

Contextual framesContextual framesDirect enterpriseDirect enterpriseNetwork of enterprisesNetwork of enterprisesProfessionalProfessionalFamilyFamilySociohistoricalSociohistorical

ValuesValues

1

EDPS 614 Ch. 6EDPS 614 Ch. 6Creativity From a Creativity From a

HistoriometricHistoriometric PerspectivePerspective

Kyung-Hee Kim, Ph.D.Eastern Michigan University

Historiometry?Historiometry?

• Applying quantitative analyses to data concerning historical individuals (Simonton, 1990)

• Applying quantitative analyses to data concerning historical individuals (Simonton, 1990)

Birth Order & CreativityBirth Order & Creativity

Creative people tend to• be first-born for status quo scientists &

political leaders, & classical composers (Clark & Rice, 1982; Schubert, Wagner, & Schubert, 1977; Stewart, 1977; Terry, 1989; Torrance, 2002)

• be later-born for revolutionary scientist & political leaders, & creative writers (Bliss, 1970; Stewart, 1977; Sulloway, 1996)

Creative people tend to• be first-born for status quo scientists &

political leaders, & classical composers (Clark & Rice, 1982; Schubert, Wagner, & Schubert, 1977; Stewart, 1977; Terry, 1989; Torrance, 2002)

• be later-born for revolutionary scientist & political leaders, & creative writers (Bliss, 1970; Stewart, 1977; Sulloway, 1996)

Intellectual Precocity & CreativityIntellectual Precocity & Creativity

Creative people tend to• have a background of creative interests (Davis,

1992; Torrance, 2002)

• Precocious appearance of domain-relevant cognitive skills (Cox, 1926; Simonton, 1991; Walberg et al., 1980)

• Certain Crystallizing experiences are necessary – e.g., A book of poetry, a mathematical text, or a

painting

Creative people tend to• have a background of creative interests (Davis,

1992; Torrance, 2002)

• Precocious appearance of domain-relevant cognitive skills (Cox, 1926; Simonton, 1991; Walberg et al., 1980)

• Certain Crystallizing experiences are necessary – e.g., A book of poetry, a mathematical text, or a

painting

Childhood Trauma & CreativityChildhood Trauma & Creativity

Creative people tend to:• have childhood trauma, especially

among more artistic creators than scientific (Berry, 1981; Goertzel, Goertzel, & Goertzel, 1978; Simonton, 1986— There’s only one thing that’s worse than having an unhappy childhood, and that’s having a ?(Dylan Thomas))

Creative people tend to:• have childhood trauma, especially

among more artistic creators than scientific (Berry, 1981; Goertzel, Goertzel, & Goertzel, 1978; Simonton, 1986— There’s only one thing that’s worse than having an unhappy childhood, and that’s having a ?(Dylan Thomas))

Family Background & CreativityFamily Background & Creativity

Creative people tend to:• have somewhat marginalized

family background (Berry, 1981; Goertzel, Goertzel, & Goertzel, 1978; Simonton, 1976)

Creative people tend to:• have somewhat marginalized

family background (Berry, 1981; Goertzel, Goertzel, & Goertzel, 1978; Simonton, 1976)

2

Education & Special Training & Creativity

Education & Special Training & Creativity

Creative people tend to• have less formal education for the

most eminent creators (Simonton, 1999)

Creative people tend to• have less formal education for the

most eminent creators (Simonton, 1999)

Role Models & Mentors & Creativity

Role Models & Mentors & Creativity

Creative people tend to• have mentors (Simonton, 1984; Torrance, 2002)

– be successful especially when the creative talent is exposed to a many diverse models & mentors

• have friends younger & older than themselves (Davis, 1992)

Creative people tend to• have mentors (Simonton, 1984; Torrance, 2002)

– be successful especially when the creative talent is exposed to a many diverse models & mentors

• have friends younger & older than themselves (Davis, 1992)

& Creativity& Creativity

Creative people tend to:• be left-handed (Davis, 1992)

• be much traveled (Torrance, 2002)

Creative people tend to:• be left-handed (Davis, 1992)

• be much traveled (Torrance, 2002)

& Creativity& Creativity

Creative people tend to:• own a cat (Schaefer, 1969, 1970)

• have an imaginary childhood playmate (Schaefer, 1969, 1970; Somers & Yawkey, 1984)

Creative people tend to:• own a cat (Schaefer, 1969, 1970)

• have an imaginary childhood playmate (Schaefer, 1969, 1970; Somers & Yawkey, 1984)

1

EDPS 614 CH.6Biological Bases

of Creativity

Kyung-Hee Kim, Ph.D.

Primary Process Cognition & Creativity

Creative people tend to• Shift better between primary process &

secondary process modes of thought (Kris, 1952; Wild, 1965)– Primary: thought in dreaming, reverie,

psychosis, hypnosis– Secondary: abstract, logical, reality-oriented

thought• Have easier access to primary

– More fantasy activity (Lynn & Rhue, 1986)

– Remember dreams better (Hudson, 1975)

– More easily hypnotized (Lynn & Rhue, 1986)

_• Suffer from certain mental disorders

(Andreasen, 1988; Jamison, 1989; 1993; Richards, 1989) &• Higher suicide rates (Neihart, 1998)

• High MMPI psychopathology scores (Barron, 1969)

• Overrepresented among the relatives of schizophrenics

(Barron,1969; Getzles & Jackson, 1962; Heston, 1966; Hudson, 1966; Karsson,1968; McNeil, 1971)

Primary Process Cognition & Creativity---Continue

View : Related to madness & frenzied inspiration (Aristotle) appeared; Divine madness, a gift from the gods (Plato) / Reappeared during 19th (Albert & Runco, 1999)

Primary Process Cognition & Creativity---Continued

b. Historical review (recited in Neihart , 1998)

Charles Dickens, Ernest Hemingway, Henry James, Honore De Balzac, Robert Burns, Lord Byron, Emily Dickinson, T.S. Eliot, Victor Hugo, John Keats, Edgar Allan Poe, Leo Tolstoy, Tennessee Williams, Virginia Woolf, Emile Zola, Michelangelo, Vincent Van Gogh

(Eminent creative people with probable mood disorders)

Primary Process Cognition & Creativity---Continued

Defocused Attention & Creativity

• Focus of attention at the same time– Only two things at the same time:

only one possible analogy can be discovered at that time

2

Associative Hierarchies & Creativity

• Have flat (or steep) associative hierarchies – To make remote associations– E.g., table, chair, food, airplane

Cortical Activation & Creativity

• Arousal– Sleep-----alert wakefulness-----emotional tension– More complex tasks require lower levels of arousal– Creative inspiration is in low-arousal (reverie-like

states)• Induced increases in arousal cause decreases in

creativity, originality,& variability of behavior• Somewhat higher resting levels of arousal• More variability in level of arousal• Lack of cognitive & behavioral inhibition (less-

frontal-lobe activation)• Over sensitive & overreactive• Need for novelty & stimulation

Hemispheric Asymmetry & Creativity

• Left hemisphere– Verbal, sequential, & analytical process– More activated in a resting state

• Right hemisphere– Global, parallel, & holistic process– Perception & production of music– When stimulated: vivid auditory & visual images– Increased activation by Hypnosis & Marijuana & music– Creative people

• tend to make leftward eye movements• Have sufficient capabilities in the hemisphere needed for their

profession, & their creativity arises from their extra abilities in the contralateral hemisphere

• Creative people rely on the right hemisphere only during the creative process and not in general

Basis for Physiological Differences & Creativity

• Creativity emerges only if all of the other traits (e.g., intelligence, psychoticism, perseverance) are present.

• Emergenic traits can be highly heritable, but do not run in families, because family members are unlikely to have all of the required traits (Waller, Bouchard, Lykken, Tellegen, & Blacker, 1993)

1

EDPS 614 Ch. 9EDPS 614 Ch. 9The Development of CreativityThe Development of Creativity

KyungKyung--HeeHee Kim, Ph.D.Kim, Ph.D.Eastern Michigan Eastern Michigan UniversityUniversity

Seven Dimensions of Seven Dimensions of Creative DevelopmentCreative Development

The lives & works of 7 creative individuals in The lives & works of 7 creative individuals in 7 different fields (Gardner, 1983/1993)7 different fields (Gardner, 1983/1993)–– Albert EinsteinAlbert Einstein–– T.S. Eliot T.S. Eliot –– Sigmund FreudSigmund Freud–– Mohandas Gandhi Mohandas Gandhi –– Martha Graham Martha Graham –– Pablo PicassoPablo Picasso–– Igor StravinskyIgor Stravinsky

Martha Graham Martha Graham (1894(1894--1991)1991)

The first modern dance choreographer to fully The first modern dance choreographer to fully use collaborations use collaborations –– Her fiery spirit & passion complex movement had a Her fiery spirit & passion complex movement had a

revolutionary effect in the evolution of modern dance revolutionary effect in the evolution of modern dance as an emotional mode of expression as an emotional mode of expression

““I did not want it to be beautiful or fluid. I wanted it to be I did not want it to be beautiful or fluid. I wanted it to be fraught with inner meaning, with excitement and surge.fraught with inner meaning, with excitement and surge.““

–– After the break, plunged deeper into her work & After the break, plunged deeper into her work & presented "Seraphic Dialogue (a powerful and moving presented "Seraphic Dialogue (a powerful and moving version of the story of Joan of Arc)version of the story of Joan of Arc)””. .

Igor Stravinsky Igor Stravinsky (1882 (1882 -- 1971)1971)

Composer & conductor Composer & conductor –– The greatest composer of the 20th centuryThe greatest composer of the 20th century

Best known for breaking new musical ground, Best known for breaking new musical ground, because of the riot which occurred at the premier because of the riot which occurred at the premier of his ballet 'The Rite of Spring' (1913). of his ballet 'The Rite of Spring' (1913). http://www.essentialsofmusic.com/composer/4816http://www.essentialsofmusic.com/composer/48169.html9.htmlMarried (at 24) his cousin & childhood friend, Married (at 24) his cousin & childhood friend, Catherine Catherine –– had studied singing in Parishad studied singing in Paris–– was Igor's greatest source of encouragementwas Igor's greatest source of encouragement–– "haven for composing". "haven for composing".

Thomas Stearns Eliot Thomas Stearns Eliot (1888(1888--1965)1965)

Never compromising either with the public or Never compromising either with the public or indeed with language itself, he has followed indeed with language itself, he has followed his belief that poetry should aim at a his belief that poetry should aim at a representation of the complexities of modern representation of the complexities of modern civilization in languagecivilization in languageThe Waste Land (1922)The Waste Land (1922)–– Rich in symbolic, literary, and historical references Rich in symbolic, literary, and historical references

as the poem explores the struggles of a soul in as the poem explores the struggles of a soul in despairdespair

–– Married Vivienne (1915) (became a British citizen Married Vivienne (1915) (became a British citizen (1927) (1927) ---- the movie the movie Tom and Tom and VivViv

7 Dimensions of Creative Development 1:7 Dimensions of Creative Development 1:Cognitive ProcessesCognitive Processes

Not necessarily cognitive precocityNot necessarily cognitive precocityDisplayed cognitive strengths & intellectual Displayed cognitive strengths & intellectual weaknessesweaknesses–– E.g., PicassoE.g., Picasso——poor academicpoor academic

Moved rapidly through the levels of their Moved rapidly through the levels of their chosen domainchosen domain–– Crystallizing experience is necessaryCrystallizing experience is necessary–– Creative persons tend to be immersed in Creative persons tend to be immersed in

their fields their fields (Albert, 1994)(Albert, 1994)

A minimum of 10 years of work necessary for A minimum of 10 years of work necessary for expertise for expertise to develop expertise for expertise to develop (Simon & Chase, 1973)(Simon & Chase, 1973)

2

7 Dimensions of Creative Development 2:7 Dimensions of Creative Development 2:Social/Emotional processesSocial/Emotional processes

Psychometric studies have shownPsychometric studies have shown–– High level of effective intelligenceHigh level of effective intelligence–– Openness to experiencesOpenness to experiences–– Freedom from restraintsFreedom from restraints–– Esthetic sensitivityEsthetic sensitivity–– Cognitive flexibilityCognitive flexibility–– IndependenceIndependence–– High level of energyHigh level of energy–– Unquestioning commitmentUnquestioning commitment

Difficulty forming close friendships or deep Difficulty forming close friendships or deep emotional relationshipsemotional relationshipsBenefit from an intense, supportive relationship Benefit from an intense, supportive relationship during a major breakthroughduring a major breakthrough

7 Dimensions of Creative Development 3:7 Dimensions of Creative Development 3:FamilyFamily

Neither wealthy nor poorNeither wealthy nor poorAway from the major cities, but not removed Away from the major cities, but not removed from the influence of the fieldsfrom the influence of the fieldsNot especially warm, but the childrenNot especially warm, but the children’’s needs s needs were ell attendedwere ell attendedAt least two generations participated in the At least two generations participated in the same field or related onesame field or related oneChildhood traumaChildhood trauma——Effect of trauma on the Effect of trauma on the childchild’’s motivation (a natural passion for a s motivation (a natural passion for a field vs. a refuge from difficult circumstancesfield vs. a refuge from difficult circumstances–– Parental lossParental loss–– Darwin vs. PicassoDarwin vs. Picasso

7 Dimensions of Creative Development 4:7 Dimensions of Creative Development 4:Education/PreparationEducation/Preparation

The role of teachers, mentors, & guidesThe role of teachers, mentors, & guides–– Especially, mentorship in the sciencesEspecially, mentorship in the sciences

The guidance & support from a more The guidance & support from a more experienced senior personexperienced senior person

–– Forming a set of personal & professional Forming a set of personal & professional relationships after formal training for work relationships after formal training for work in a fieldin a field

For artistic fields, a personFor artistic fields, a person’’s s performance in school tends to be of performance in school tends to be of less importance than in the sciencesless importance than in the sciences

7 Dimensions of Creative Development 5:7 Dimensions of Creative Development 5:Domain & FieldDomain & Field

DomainDomain–– The history of a domain & the The history of a domain & the

development of expertisedevelopment of expertiseE.g., Piaget, EinsteinE.g., Piaget, Einstein……

–– Who soar to the heights of a domain & Who soar to the heights of a domain & those who lose depends on how well those who lose depends on how well matched the twomatched the two--person & domain during person & domain during the critical period of mastery developmentthe critical period of mastery development

7 Dimensions of Creative Development 5:7 Dimensions of Creative Development 5:Domain & Field Domain & Field ------ continuedcontinued

FieldField–– The state of a field of knowledge during The state of a field of knowledge during

the critical period for an individual affectthe critical period for an individual affectRembrandtRembrandt’’s creativity after his deaths creativity after his deathMendelMendel’’s experiments on peas after Darwins experiments on peas after Darwin’’s s workwork

7 Dimensions of Creative Development 6:7 Dimensions of Creative Development 6:Social & Cultural InfluencesSocial & Cultural Influences

Determine possibility or lack of possibility for Determine possibility or lack of possibility for developing creativitydeveloping creativity–– Certain fundamental Christian groups proscribe Certain fundamental Christian groups proscribe

girls from being in musical careersgirls from being in musical careers–– South Africa restricts whole groups of its members South Africa restricts whole groups of its members

to certain defined roles in societyto certain defined roles in societyRaise or lower the probability of developing Raise or lower the probability of developing creativity by importance placed on certain creativity by importance placed on certain fieldsfields–– Chess in IcelandChess in Iceland–– Basketball in the U.S.Basketball in the U.S.–– Arts in Florence, Italy in the first 25 years on the Arts in Florence, Italy in the first 25 years on the

1515thth centurycentury

3

7 Dimensions of Creative Development 7:7 Dimensions of Creative Development 7:Historical InfluencesHistorical Influences

Opportunities for developing oneOpportunities for developing one’’s s talents are constrained & channeled by talents are constrained & channeled by the time & place of birththe time & place of birth–– E.g., natural disaster, warE.g., natural disaster, war……–– The single best predictorThe single best predictor----Political Political

fragmentation fragmentation

1

EDPS 614 Ch. 10Creative Cognition

Kyung-Hee Kim, Ph.D.Eastern Michigan Univerity

Cognitive Science Perspective

• Creativity as a process• Peculiarities of creative cognition

– Perception– Thinking– Memory– Categorization– Knowledge structures

• No need for individual assessment

The Geneplore Model

• Geneplore = generation + exploration (Finke, Ward & Smith, 1992)

– Creative cognition approach– The notion of “preinventive structure”

The Geneplore Model

Generative PhaseExploratory Phase

Constraints

Generative Phase

• Generation of preinventive structures• Six groups

– memory retrieval– Association– synthesis („mental blends”)– new concepts– transfer of knowledge– category reduction

(e.g., rose as a flavor generator)

Exploratory Phase

• Preinventive exploration & interpretation• Expansion & Interpretation

2

Process (Wallas, 1926/ 1970)

• Preparation: Preliminary analysis of a problem– Defining & Identifying the problem– Gathering experience & ideas

• Incubation: Maturing phase– The most creative part – Insight occurs when a subconscious

connection between ideas fits so well /that it is forced to pop out into awareness (Csikszentmihalyi, 1996).

– Ideas come when relaxing (Wallas, 1926; Ochse, 1990).

Process (Wallas, 1926/ 1970) ---Continued

• Illumination: Creation of insights & inspiration phase – Product of incubation---“aha”

• Verification: Execution & evaluation phase– Testing the “aha” (Lubart, 2001)

A Process Model of Creative Thinking based on the Geneplore Model Example: what can we do

with these elements?

T

Constraints

• Marketing & advertisement domain• Metaphorical meaning• Synthesis of elements

Product: Generative Phase

3

Interpretation: Exploratory Phase

Logo ofgolfing clubwine lovers clubpregnancy treatment center???

Obstacles of Creative Process

• Cognitive• mental set• frame of reference

• Emotional• anxiety• low tolerance for ambiguity

• Social• external pressures• shame

Four dots problem Bad solutions

Good solution Creative solution

4

Conclusions

• Creative cognition is just cognition• Peculiarities refer to the way a

process is executed & controlled• The level of creativity decides on the

organization of the creative process

1

EDPS 614 Ch. 11From Case Studies

Kyung-Hee Kim, Ph.D.Eastern Michigan Universithy

Holistic Involvement in Work: Faustian Arrangement

A lack of close involvement with other A lack of close involvement with other human beingshuman beings

Kant, Newton, GrahamKant, Newton, Graham……Major creativity is incompatible with Major creativity is incompatible with normal family lifenormal family life

Poor relationships with wife & childrenPoor relationships with wife & childrenEinstein, Freud, Gandhi, PicassoEinstein, Freud, Gandhi, Picasso……

Decided to relinquish sexual relationships Decided to relinquish sexual relationships (Freud & Gandhi)(Freud & Gandhi)

Had romantic relationships, but showed Had romantic relationships, but showed Egocentric behavioral pattern Egocentric behavioral pattern (Picasso)(Picasso)

Generative Cognitive StyleA powerful imaginationA powerful imagination

Leads to originalityLeads to originalityImagination generated creative ideas (Einstein) /fantasy Imagination generated creative ideas (Einstein) /fantasy generates illusionsgenerates illusions

Playful approach increases the likelihood of CPlayful approach increases the likelihood of C

An accurate sense of domain relevanceAn accurate sense of domain relevanceFlair for distinguishing what is important from what is Flair for distinguishing what is important from what is notnot

A fine intrapersonal intelligenceA fine intrapersonal intelligenceIntrospection to distinguish betweenIntrospection to distinguish between

Productive imagination & mere fantasyProductive imagination & mere fantasyIntuitive tendencies & emotional reactionsIntuitive tendencies & emotional reactionsCreative intuitions & intuitive misconceptionsCreative intuitions & intuitive misconceptions

Kinds of Creative BehaviorsEngaging in the solution of problemsEngaging in the solution of problems

James Watson & Francis Crick (discovery of the James Watson & Francis Crick (discovery of the structure of the double helix) structure of the double helix)

Engaging in theory buildingEngaging in theory buildingEinstein, Freud, DarwinEinstein, Freud, Darwin

Engaging in the creation of some kind of a Engaging in the creation of some kind of a permanent work in a symbolic systempermanent work in a symbolic system

Eliot (Eliot (The Waste LandThe Waste Land), Picasso (), Picasso (GuernicaGuernica), ), Beethoven (Beethoven (EroicaEroica symphony)symphony)

Performance of a ritualized workPerformance of a ritualized workGrahamGraham

HighHigh--stake performancesstake performancesGandhiGandhi

Kinds of CreatorsThe masterThe master

Accepts the current domain as delineated &n seeks to Accepts the current domain as delineated &n seeks to realize the genres of the domain to the most superlative realize the genres of the domain to the most superlative degreedegree

MozartMozart

The makerThe makerIs driven by a compulsion to challenge current domain Is driven by a compulsion to challenge current domain practices & to create domains or practices & to create domains or subdomainssubdomains

Einstein, Darwin, FreudEinstein, Darwin, Freud

The The introspectorintrospectorIs devoted to the exploration of his or her own psycheIs devoted to the exploration of his or her own psyche

FreudFreud

The influencerThe influencerDirects his or her creative capacities toward affecting other Directs his or her creative capacities toward affecting other individualsindividuals

Gandhi, Roosevelt, MandelaGandhi, Roosevelt, Mandela

Life Course

Birth in an area at some remove from a center of cultureBirth in an area at some remove from a center of cultureA regular bourgeois childhood with a strict disciplinary at homeA regular bourgeois childhood with a strict disciplinary at homeMoving during or after adolescence to a major cultural centerMoving during or after adolescence to a major cultural centerDiscovering other young individuals with similar talents & Discovering other young individuals with similar talents & ambitionsambitionsSelection of a domain from a limited range of optionsSelection of a domain from a limited range of optionsWillingness to challenge authority (directly/through works)Willingness to challenge authority (directly/through works)Up to a decade invested in mastering a domainUp to a decade invested in mastering a domainA slow realization that current work in the domain is A slow realization that current work in the domain is fundamentally flawedfundamentally flawedExploration of areas that are considered dangerous or remoteExploration of areas that are considered dangerous or remoteA feeling of isolationA feeling of isolationThe importance of cognitive & affective support at the time of aThe importance of cognitive & affective support at the time of abreakthroughbreakthrough

2

Fruitful Asynchrony: the capacity to exploit their differences from the norm

FreudFreudFailed to be a worldFailed to be a world--class researcher/Strengths in class researcher/Strengths in the linguistic & interpersonal area to create the linguistic & interpersonal area to create a a quasiquasi--scientificscientific domaindomain

EinsteinEinsteinAn indifferent students/Combination of An indifferent students/Combination of mathematical &n spatial giftsmathematical &n spatial gifts

WoolfWoolfStatus as a woman & bisexual Status as a woman & bisexual inclinations/Introspections & sensitivityinclinations/Introspections & sensitivity

1

Creativity and AlcoholCreativity and Alcohol

Eastern Michigan University

Kyung Hee Kim, Ph.D.

MethodsMethods

1. Interview (King, 2002)

2. Literature review (Barker & Rolfe, 2001

3. Biographic study (Ludwig, 1990; Koski-Jännes, 1985)

4. Experimental study: (Norlander, Nordmarker, & Archer, 1998; Gustafson & Källmën, 1989a, 1989b; Norlancder & Gustafson, 1996, 1997, 1998; Gustafson & Norlander, 1994, 1995Hajcak, 1976)

4. Experimental study 4. Experimental study --Continued Continued

1) Moderate alcohol intoxication: Alcohol dose: 1.0 ml of 100% alcohol/kg body weight (Norlander, Nordmarker, & Archer, 1998; Gustafson & Källmën, 1989a, 1989b; Norlancder & Gustafson, 1996, 1997, 1998; Gustafson & Norlander, 1994, 1995Hajcak, 1976)

2) Control/ Placebo/Alcohol group(Gustafson & Källmën, 1989a, 1989b; Norlander & Gustafson, 1996, 1997, 1998)

Control /Alcohol group ((Norlander, Nordmarker, & Archer, 1998; Lang, Vernet, & Watt, 1984))

4. Experimental study 4. Experimental study --ContinuedContinued

3) ScoringDrawing a picture: (Norlander, Nordmarker, & Archer, 1998;

Norlander & Gustafson, 1997-using a poem),

Report & Diary: (Norlancder & Gustafson, 1996)

Testing: TTCT (Lang, Vernet, & Watt, 1984; Lowe, 1994);

PUKORT (Purdue Creativity Test, Norlancder & Gustafson, 1998)

TAT (Thematic Apperception Test, Kalin, McClelland, & Kahn, 1965; Kastl, 1969) other testing (Gustafson & Källmën, 1989a, 1989b; Gustafson, 1990; Kalin, McClelland, & Kahn, 1965; Gustafson & Norlander, 1994)Norlander; rCBF(Measurements ofCelebral Regional Flow, Risberg, 1994)

FindingsFindingsWho thought they had drunk

alcohol were more creative (Lang, Verret, & Watt, 1984)

Enhanced verbal availability (Nash, 1962)

Increased remarks about the meaning of life and significant experiences (Kalin, McClelland, & Kahn, 1965)

Correlation between writing life and alcohol (Thomas, 2002)

FindingsFindings --continuedcontinued

Accompanied by frustration resulted in destructive (Norlander, Nordmarker, & Archer, 1998)

Increased psychological defense reaction (Gustafson & Källmën, 1989a)

Less internal control & reality oriented functioning (Gustafson & Källmën,

1989b)

Creativity activity can also affect drinking behavior ( Ludwig, 1990)

2

Process of CreativityProcess of Creativity

1) Preparation 1) Preparation 2) Incubation 2) Incubation 3) Illumination 3) Illumination 4) Verification4) Verification

(Wallas, 1926)(Wallas, 1926)

5) Restitution5) Restitution(Koski(Koski--JJäännes, 1985nnes, 1985; ;

NorlanderNorlander & Gustafson, 1993, 1995, 1997)& Gustafson, 1993, 1995, 1997)

FindingsFindings --continuedcontinued1. Preparation↓: persistent effort and

deductive thinking ↓ (Gustafson & Norlander, 1994, 1996)

2. Incubation↑: (Norlander & Gustafson, 1996; Koski-Jännes, 1985; Hajcak, 1976 )

3. Illumination↓ : fluency (Gustafson, 1991) ↓

flexibility↓(Norlander & Gustafson, 1998) originality ↑(Norlander & Gustafson, 1998)

4. Verification↓: (Norlander & Gustafson, 1993, 1997; Hajcak, 1976

originality↑ fluency & creative problem solving↓)

5. Restitution↑: (Gustafson & Norlander, 1995; Koski-Jännes, 1985)

ConclusionConclusion

lPrimary Stages ↑, Secondary Stages ↓ (Gustafson & Norlander, 1994, 1995; Gustafson, 1991; Koski-Jannes, 1985, Norlander, 1995; Risberg, 1994; Wendt et al., 1994; Ingvar et al., 1995; Hajcak, 1976; Kalin, McClelland, & Kahn, 1965)

lBe aware of the existence of individual differences in terms of the alcohol effect on thinking (Norlander & Gustafson, 1998)

1

Understanding Our Understanding Our Creative UnderachieversCreative Underachievers

Kyung Hee Kim, Ph.D.Kyung Hee Kim, Ph.D.Eastern Michigan Eastern Michigan

UniveristyUniveristy

Why is Creativity Important?Why is Creativity Important?

HighHigh--ranking saleswomenranking saleswomen’’s TTCT scores s TTCT scores (Torrance, 1962)(Torrance, 1962)

Power to transform giftedness to eminence Power to transform giftedness to eminence ((KhatenaKhatena, 1983) , 1983)

Striking advances Striking advances In art & political & military leadership In art & political & military leadership In scientific discovery & invention In scientific discovery & invention ((WeylWeyl, 1970), 1970)

Underachievement Underachievement

For gifted boysFor gifted boys50% of above average ability 50% of above average ability (Gallagher, 1976)(Gallagher, 1976)

2525--30% of school dropouts were gifted 30% of school dropouts were gifted (The U.S. Office of (The U.S. Office of Education: Report to Congress, 1971: See, Seeley, 1984) Education: Report to Congress, 1971: See, Seeley, 1984)

Many underachievers show high creativityMany underachievers show high creativity (Whitmore, (Whitmore, 1980)1980)

Traditional School & CreativityTraditional School & Creativity

Mismatch between Mismatch between traditional school traditional school environments & highly environments & highly creative students creative students ((AmabileAmabile, 1989; , 1989; GoertzelGoertzel & & GoertzelGoertzel, 1960) , 1960)

60 % of 400 eminent 60 % of 400 eminent creators had serious creators had serious school problems school problems

Convergence & Divergence

Norman Rockwellillustrates a businessmanlooking at a Jackson Pollackpainting.

Classroom & CreativityClassroom & Creativity Albert Einstein Albert Einstein ((AmabileAmabile, 1979; Hennessey, & , 1979; Hennessey, & AmabileAmabile, 1987), 1987)

Struggled in school Struggled in school Slow, shy, & poor at schoolwork Slow, shy, & poor at schoolwork in Munichin MunichAge 15: a new school in Age 15: a new school in SwitzerlandSwitzerland

Little emphasis on memorizationLittle emphasis on memorizationEmphasis on individual lab workEmphasis on individual lab workStudentStudent--initiated investigation initiated investigation Democratic exchanges among Democratic exchanges among teachers & studentsteachers & students

2

Thomas EdisonThomas Edison

Experienced school Experienced school problemsproblems

Traditional School & CreativityTraditional School & Creativity

SamSamueluel's restlessness & verbal diatribes.'s restlessness & verbal diatribes.Virginia demonstrated a tendency to talk on & Virginia demonstrated a tendency to talk on & on.on.

Samuel Taylor ColeridgeSamuel Taylor Coleridge Virginia Virginia WoolfWoolf

The Cupertino Project The Cupertino Project (Whitmore, 1980)(Whitmore, 1980)

Teachers responses to suggestions that children they Teachers responses to suggestions that children they had not recommended might be giftedhad not recommended might be gifted

Immature social & emotional behaviorImmature social & emotional behaviorLack of intellectual drive or striving to achieveLack of intellectual drive or striving to achieveLess productivity Less productivity

Characteristics of CUs Characteristics of CUs (Whitmore, 1980)(Whitmore, 1980) -- Emotional Emotional

or personalor personal

IQ of 120+IQ of 120+Physical, Social, & emotional immaturityPhysical, Social, & emotional immaturityBelief that no one likes themBelief that no one likes themVisual or psychoVisual or psycho--motor deficiencymotor deficiencyUnrealistic levels of perfectionism & Unrealistic levels of perfectionism & expectations of complexity in workexpectations of complexity in workExtremely low self esteemExtremely low self esteemAbsences from emotionallyAbsences from emotionally--related illnessrelated illness

3

Characteristics of CUsCharacteristics of CUs--Conflicts due to an internallyConflicts due to an internally--motivated, selfmotivated, self--directed learning styledirected learning style (Whitmore, 1980)(Whitmore, 1980)

Profound interest in a single area in which they Profound interest in a single area in which they are an are an ““expertexpert””Rigidity of interests translating intoRigidity of interests translating into

Daydreaming, wandering, doodling, or living in a Daydreaming, wandering, doodling, or living in a fantasy worldfantasy world

Daydreaming & CreativityDaydreaming & Creativity

WorkWork--Play Dichotomy & CreativityPlay Dichotomy & Creativity

Work is characterized by humor, playfulness, Work is characterized by humor, playfulness, relative lack of rigidity, & relaxation relative lack of rigidity, & relaxation (Torrance, 1962)(Torrance, 1962)

BUT:BUT:

WorkWork--play ethic engrained in adults can be projected play ethic engrained in adults can be projected on to childhoodon to childhood

Fantasy & Free PlayFantasy & Free Play

Free play or makeFree play or make--believe playbelieve play (Hennessey, & (Hennessey, & AmabileAmabile, 1987) , 1987)

Parents take part in fantasy playParents take part in fantasy play (Torrance, 1962)(Torrance, 1962)

BUT:BUT:Attempt too early to eliminate fantasy Attempt too early to eliminate fantasy Can be stifled by fear of becoming the target of Can be stifled by fear of becoming the target of ridiculeridicule ((KirschenbaumKirschenbaum, 1989), 1989)

Daydreaming & CreativityDaydreaming & Creativity

Robert daydreamed so much that he was put Robert daydreamed so much that he was put out of schoolout of schoolFrank went into such trancelike dreams that Frank went into such trancelike dreams that one had to shout at him to bring him backone had to shout at him to bring him back

Robert FrostRobert Frost

4

The Road Not TakenThe Road Not TakenRobert FrostRobert Frost (1874(1874––1963)1963)

TTwowo roads diverged in a yellow roads diverged in a yellow wood,wood,

And sorry I could not travel bothAnd sorry I could not travel bothAnd be one traveler, long I stoodAnd be one traveler, long I stoodAnd looked down one as far as I And looked down one as far as I

couldcouldTo where it bent in the To where it bent in the

undergrowth;undergrowth;Then took the other, as just as fair,Then took the other, as just as fair,And having perhaps the better And having perhaps the better

claim,claim,Because it was grassy and wanted Because it was grassy and wanted

wear;wear;Though as for that the passing Though as for that the passing

therethereHad worn them really about the Had worn them really about the

same,same,

And both that morning equally And both that morning equally laylay

In leaves no step had trodden In leaves no step had trodden black.black.

Oh, I kept the first for another Oh, I kept the first for another day!day!

Yet knowing how way leads on to Yet knowing how way leads on to way,way,

I doubted if I should ever come I doubted if I should ever come back.back.

I shall be telling this with a sighI shall be telling this with a sighSomewhere ages and ages hence:Somewhere ages and ages hence:Two roads diverged in a wood, Two roads diverged in a wood,

and Iand I——I took the one less I took the one less traveled by,traveled by,

And that has made alAnd that has made alll the the difference.difference.

Frank Lloyd WrightFrank Lloyd Wright

Characteristics of CUsCharacteristics of CUs-- Drive for Drive for explorationexploration (Whitmore, 1980)(Whitmore, 1980)

Lack of patience & satisfaction from repeated Lack of patience & satisfaction from repeated Rejection or incompletion of school workRejection or incompletion of school workWide range of interests, mostly in the sciences & Wide range of interests, mostly in the sciences & artsarts

Creative / Intelligence GiftedCreative / Intelligence Gifted

Creative Gifted Creative Gifted ((GetzelsGetzels & Jackson, 1958)& Jackson, 1958)

More Imagination & originalityMore Imagination & originalityGreater unexpected endings, humor, & playfulnessGreater unexpected endings, humor, & playfulnessEnjoy the risk & uncertainty of the unknownEnjoy the risk & uncertainty of the unknown

ParentsParents’’ Focus Focus ((GetzelsGetzels & Jackson, 1961)& Jackson, 1961)

Highly Highly intelligentintelligentstudentsstudents’’Immediately visible Immediately visible qualitiesqualities

CleanlinessCleanlinessGood mannersGood mannersStudiousness Studiousness

Highly Highly creativecreativestudentsstudents’’Less visible qualities Less visible qualities

Openness to Openness to experienceexperienceValuesValuesInterestsInterestsEnthusiasmEnthusiasm

Creative Families Creative Families ((AmabileAmabile, 1996), 1996)

Low levels of authoritarianism & Low levels of authoritarianism & restrictivenessrestrictivenessEncouragement of independenceEncouragement of independenceSomewhat cool interpersonal distanceSomewhat cool interpersonal distanceEngage in playful activitiesEngage in playful activities

5

Parents of Eminent CreatorsParents of Eminent Creators

Value learning, industriousness, & freedom & Value learning, industriousness, & freedom & fun fun (e.g., McGreevy, 1992) (e.g., McGreevy, 1992)

Personally securePersonally secureExample emphasis on making personal choices Example emphasis on making personal choices

Rather than conforming to societyRather than conforming to society’’s rules about s rules about status & roles status & roles

Creative / Intelligence GiftedCreative / Intelligence Gifted

Unrecognized creative talentUnrecognized creative talentIdentifying only based on IQ & scholastic aptitude Identifying only based on IQ & scholastic aptitude tests tests (Torrance, 1960b, 1962)(Torrance, 1960b, 1962)

Teachers tend toTeachers tend to……

Prefer low creativity Prefer low creativity (Anderson, 1961)(Anderson, 1961)

Identify those who are achievers & teacher pleasers Identify those who are achievers & teacher pleasers (Davis & (Davis & RimmRimm, 1994; Oliphant, 1986;Rimm & Davis, 1976; Ritchie, 1980; Robins, 1994; Oliphant, 1986;Rimm & Davis, 1976; Ritchie, 1980; Robinson, 1980) on, 1980)

Energetic & unconventional = ADHD? Energetic & unconventional = ADHD? ((CramondCramond, 1994) , 1994)

Gifted Underachievers do Not like Gifted Underachievers do Not like Teachers who Teachers who (Fine, 1967)(Fine, 1967)

AreAreSarcastic Sarcastic Overly criticalOverly criticalRigid Rigid OfficiousOfficiousUnfairUnfairUnsympatheticUnsympathetic

Emphasize Emphasize Order Order Control Control Conformity Conformity

Characteristics that could Frustrate Characteristics that could Frustrate Teachers Teachers (Torrance, 1962) (Torrance, 1962)

Have wild or silly ideas, Have wild or silly ideas, especially among boys especially among boys Difficult for teachers or Difficult for teachers or classmates to see good classmates to see good ideasideas

WWild or silly ideas, especially ild or silly ideas, especially among boysamong boys

NikolaNikolaJumpingJumping from the roof of a barn, clutching an from the roof of a barn, clutching an umbrellaumbrellaChased by a flock of crows or angry hogsChased by a flock of crows or angry hogsJumping from a church balcony onto the train Jumping from a church balcony onto the train of a ladyof a lady’’s dresss dress

6

NikolaNikola TeslaTesla

InventionsInventionsRotating magnetic field Rotating magnetic field principleprincipleWireless communicationWireless communicationRadioRadioFluorescent lightsFluorescent lightsMore than 700 other patentsMore than 700 other patents

Characteristics of CUsCharacteristics of CUs-- Conformity & Conformity & selfself--directiondirection (Whitmore, 1980)(Whitmore, 1980)

Autonomous spiritAutonomous spiritWithdrawal from groups to work aloneWithdrawal from groups to work aloneRefusal to comply with rules & requestsRefusal to comply with rules & requestsLack of communication with peers or teachersLack of communication with peers or teachers

Characteristics of CUsCharacteristics of CUs-- CConflict results in onflict results in school alienationschool alienation (Whitmore, 1980)(Whitmore, 1980)

School phobiaSchool phobiaDisinterestDisinterestAbsenteeismAbsenteeismLack of participationLack of participationLack of academic initiativeLack of academic initiativeAttempts to do little in class work & activitiesAttempts to do little in class work & activities

Characteristics of CUsCharacteristics of CUs--IInattentive or undirected nattentive or undirected

hyperactive behaviorhyperactive behavior (Whitmore, 1980)(Whitmore, 1980)

Hyperactivity, hypersensitive behaviorHyperactivity, hypersensitive behaviorDistractibility & inability to focus effortsDistractibility & inability to focus effortsVies for attention or moves about disrupting Vies for attention or moves about disrupting othersothersLacks selfLacks self--direction skills & exploits any freedom direction skills & exploits any freedom

Creativity & ConformityCreativity & Conformity

Have pressures for conformityHave pressures for conformityConformity = Conformity = ““action in accordance with action in accordance with customs, rules, prevailing opinioncustoms, rules, prevailing opinion”” (Webster(Webster’’s New World s New World Dictionary) Dictionary)

Conformists are focused on how they are Conformists are focused on how they are perceived by others perceived by others (Sheldon, 1999)(Sheldon, 1999)

Nonconformity can become a drive in creative Nonconformity can become a drive in creative individuals individuals (Whitmore, 1980)(Whitmore, 1980)

Creativity & ConformityCreativity & Conformity

Punished & discouraged by those who perceive Punished & discouraged by those who perceive creative behavior as inconvenient & difficult to creative behavior as inconvenient & difficult to managemanage (Seeley, 1984; Torrance, 1981b, 2000a, 2000b)(Seeley, 1984; Torrance, 1981b, 2000a, 2000b)

““fourth grade slumpfourth grade slump”” (Torrance, 1967, 1968) (Torrance, 1967, 1968)

7

Gender and CreativityGender and Creativity Gender Role Expectations & Gender Role Expectations & CreativityCreativity

Many creative women are channeledMany creative women are channeled (Reis, 1987)(Reis, 1987)

Androgyny Androgyny (Norlander, Erixon, & Archer, 2000)

Both sensitivity & independence are essentialBoth sensitivity & independence are essential (Torrance, 1960a, (Torrance, 1960a,

1962)1962)

Sensitivity = Feminine virtueSensitivity = Feminine virtueIndependence = Masculine virtueIndependence = Masculine virtue

Sacrifice their creativity to maintainSacrifice their creativity to maintain (Torrance, 1960a, 1962)(Torrance, 1960a, 1962)

Problems of CGSProblems of CGS

““Eccentric LonersEccentric Loners””Anyone who produces an original idea is a Anyone who produces an original idea is a minority of one minority of one (Torrance, 1962, 1970)(Torrance, 1962, 1970)

Must Must Repress their creativityRepress their creativityLearn to cope with the tensions Learn to cope with the tensions

Problems of CGSProblems of CGS (Torrance, 1962)(Torrance, 1962)

Come fromCome fromIndependence of mindIndependence of mindUnchallenging, boring, & reproductive tasksUnchallenging, boring, & reproductive tasks

Some deny their creativity & conformSome deny their creativity & conformLack of confidenceLack of confidenceOverly dependentOverly dependent (Torrance, 1960a)(Torrance, 1960a)

Severe repression or suppressionSevere repression or suppression (Patrick, 1955) (Patrick, 1955)

Overwhelming tension & breakdown Overwhelming tension & breakdown Psychosis Psychosis

Differences of Male HighDifferences of Male High--ability ability Dropouts from Dropouts from PersistersPersisters ((LajoieLajoie & Shore, 1981)& Shore, 1981)

•• More assertiveMore assertive•• IndependentIndependent•• SelfSelf--assuredassured•• RebelliousRebellious•• CheerfulCheerful•• ExpressiveExpressive•• FrankFrank•• HappyHappy--gogo--luckylucky•• Talkative Talkative

What can What can we do we do

about it?about it?

8

Intrinsic /Extrinsic MotivationIntrinsic /Extrinsic Motivation

Intrinsic MotivationIntrinsic MotivationDoing an activity because it is interesting, involving, Doing an activity because it is interesting, involving, satisfying, or personally challengingsatisfying, or personally challengingFocus on the challenge & the enjoyment of the work itselfFocus on the challenge & the enjoyment of the work itselfHighly intrinsically motivated state: Highly intrinsically motivated state: ““flowflow”” ((CsikzentmihalyiCsikzentmihalyi, 1990), 1990)

Heightened feelings of enjoyment & centering of concentration Heightened feelings of enjoyment & centering of concentration

Extrinsic MotivationExtrinsic MotivationDoing an activity in order to meet some goal external to the Doing an activity in order to meet some goal external to the work itself (attaining an expected reward, winning a work itself (attaining an expected reward, winning a competition, or meeting some requirement)competition, or meeting some requirement)Focus on external reward, recognition, & direction of oneFocus on external reward, recognition, & direction of one’’s s workwork

Extrinsic Motivation & CreativityExtrinsic Motivation & Creativity

Detrimental effect of Detrimental effect of Expected performance evaluation & receipt of Expected performance evaluation & receipt of positive evaluation prior to performance positive evaluation prior to performance ((AmabileAmabile, Goldfarb, , Goldfarb, & & BrackfieldBrackfield, 1990; , 1990; BartisBartis, Szymanski, & Harkins, 1988; , Szymanski, & Harkins, 1988; BerglasBerglas, , AmabileAmabile, & Handel, 1981; , & Handel, 1981; Hennessey, 1989; Szymanski & Harkins, 1992)Hennessey, 1989; Szymanski & Harkins, 1992)

Being watched by others Being watched by others ((AmabileAmabile, Goldfarb, & , Goldfarb, & BrackfieldBrackfield, 1990), 1990)

Competing for prizes Competing for prizes ((AmabileAmabile, 1982, 1987), 1982, 1987)

A restrictive & controlling instruction A restrictive & controlling instruction ((KoestnerKoestner et al., 1984)et al., 1984)

Extrinsic Motivation & CreativityExtrinsic Motivation & Creativity

Positive effect of Positive effect of Informative or constructive evaluation or feedback Informative or constructive evaluation or feedback Expected performance evaluation & receipt of Expected performance evaluation & receipt of positive evaluation prior to performance positive evaluation prior to performance ((AmabileAmabile et al., 1996; et al., 1996; AmabileAmabile & N. & N. GryskiewiczGryskiewicz, 1989; , 1989; AmabileAmabile & S. & S. GryskiewiczGryskiewicz, 1987), 1987)

Providing useful & desired information Providing useful & desired information ((AmabileAmabile, Goldfarb, & , Goldfarb, &

BrackfieldBrackfield, 1990), , 1990), especially, if initial levels of intrinsic especially, if initial levels of intrinsic motivation are high motivation are high ((AmabileAmabile, 1996) , 1996)

How can we reverse underachievement? How can we reverse underachievement?

Allow students to do something they love Allow students to do something they love ((AmabileAmabile, 1996; , 1996; RuncoRunco & & ChandChand, 1995; Torrance, 1995), 1995; Torrance, 1995)

Allowing students to choose their own topics for Allowing students to choose their own topics for individual or group projectsindividual or group projectsEncouraging them explore ideas that are personally Encouraging them explore ideas that are personally excitingexciting

Encouraging them in discussions about the intrinsic Encouraging them in discussions about the intrinsic excitement & joy of learningexcitement & joy of learning


Reducing the salience of grade evaluations by talking Reducing the salience of grade evaluations by talking about grades less/emphasizing the informational about grades less/emphasizing the informational nature of the evaluations (constructive, nature of the evaluations (constructive, nonthreateningnonthreatening, & work, & work--focused rather than personfocused rather than person--focused)focused)External motivators for Preparation & Verification External motivators for Preparation & Verification stages (flexible & novel thinking is less important)stages (flexible & novel thinking is less important)

E.g., Clear deadlines or the promise of external reward & E.g., Clear deadlines or the promise of external reward & recognition recognition Can enhance the appropriateness or value of the work by Can enhance the appropriateness or value of the work by attuning the individual to outcome requirementsattuning the individual to outcome requirementsMore creative in competition between groups then within More creative in competition between groups then within groupsgroups


Teaching StyleTeaching Style

Must playfully engage studentsMust playfully engage studentsMust show them that we are concerned about Must show them that we are concerned about them them Demand their best, but forgive their worst Demand their best, but forgive their worst Lead them to a belief in themselves Lead them to a belief in themselves (Engle, 1970)(Engle, 1970)

9


Classroom StructureClassroom Structure

Factors that lower creativity Factors that lower creativity ((AmabileAmabile, 1979; , 1979; ParnesParnes, & Meadow, 1959) , & Meadow, 1959)

Evaluation Reward Evaluation Reward Competitive situationsCompetitive situationsRestrictedRestricted--choice situationschoice situationsRote recitationRote recitationPrecise performance under time pressurePrecise performance under time pressureCompletion of familiar, repetitive proceduresCompletion of familiar, repetitive procedures


Classroom Structure Classroom Structure (cont(cont’’d)d)

Least restrictive school setting Least restrictive school setting (Whitmore, 1980; Butler(Whitmore, 1980; Butler--PorPor, 1987) , 1987)

Explore variety of topics & skillsExplore variety of topics & skillsTime to pursue some in depth Time to pursue some in depth ((KirschenbaumKirschenbaum, 1989) , 1989)

CUs preferCUs preferFree choice of activities Free choice of activities (Middleton, Littlefield, & Lehrer, 1992)(Middleton, Littlefield, & Lehrer, 1992)

More control over an activityMore control over an activityIndependent workIndependent work


Creative teachers have creative Creative teachers have creative studentsstudents

Elementary school teaching: Politically conservative, Elementary school teaching: Politically conservative, conforming, & submissive conforming, & submissive ((DennoDenno, 1977), 1977)

Punish nonconforming behaviorPunish nonconforming behaviorNeed various personality typesNeed various personality typesNeed acceptance of heterogeneity Need acceptance of heterogeneity ((DettmerDettmer, 1981), 1981)

Who are exposed to information aboutWho are exposed to information aboutSensitive to the studentsSensitive to the students’’ multiple intelligencesmultiple intelligencesLess biased by studentsLess biased by students’’ gender, social class, & race gender, social class, & race ((GuskinGuskin, , PengPeng, , & Simon, 1992) & Simon, 1992)


Creative teachers have creative Creative teachers have creative students students (cont(cont’’d)d)

Creative teachers have overachieving creative studentsCreative teachers have overachieving creative students((KirschenbaumKirschenbaum, 1989), 1989)

Healthy creativity & conformityHealthy creativity & conformity (Torrance, 1962)(Torrance, 1962)

Relationship between conformity & creativityRelationship between conformity & creativity ((AmabileAmabile, 1989; Crutchfield, 1955, , 1989; Crutchfield, 1955, 1962; Van Hook & 1962; Van Hook & TeganoTegano, 2002) , 2002)

Must help them tolerate their separateness or search for someoneMust help them tolerate their separateness or search for someone(Torrance, 1962) (Torrance, 1962)

Teachers & counselors as role models & mentorsTeachers & counselors as role models & mentors (Kunkel, Chapa, Patterson, & (Kunkel, Chapa, Patterson, & Walling, 1995)Walling, 1995)

Film or videotapesFilm or videotapes (Zimmerman & (Zimmerman & DialessiDialessi, 1973), 1973)

How can we reverse underachievement?How can we reverse underachievement?

Teacher Education Teacher Education

Trainings reduce sex role stereotyping Trainings reduce sex role stereotyping (Murphy, (Murphy, JenkinsJenkins--Friedman, & Friedman, & TollefsonTollefson, 1984) , 1984)

Courses in creative personality raise Courses in creative personality raise teachersteachers’’ value of value of

Independence, courage, perseverance, & Independence, courage, perseverance, & curiosity curiosity ((BachtoldBachtold, 1974; , 1974; KaltsounisKaltsounis, 1977; , 1977; KaltsounisKaltsounis & Higdon, 1977; Torrance, 1963) & Higdon, 1977; Torrance, 1963)

With a gifted education background With a gifted education background respond differently respond differently ((HanninenHanninen, 1988), 1988)


What can teachers do?What can teachers do?Teachers who foster creativityTeachers who foster creativity (Chambers, 1973) (Chambers, 1973)

Allow choice of topicsAllow choice of topicsWelcome unorthodox viewsWelcome unorthodox viewsReward divergent thinkingReward divergent thinkingExpress enthusiasm for teachingExpress enthusiasm for teachingInteract with their students outside of classInteract with their students outside of classConduct classes in a more informal mannerConduct classes in a more informal manner

Teachers who made a differenceTeachers who made a difference (Torrance, 1981a, 1994)(Torrance, 1981a, 1994)

helped students fall in love with a topic so that it became the helped students fall in love with a topic so that it became the center of center of their future career imagetheir future career image

10


What can teachers do?What can teachers do?

Allow students to pursue Allow students to pursue topics of strong interest topics of strong interest (Reis & Hebert, 1985)(Reis & Hebert, 1985)

RenzulliRenzulli’’ss Type III Type III enrichment: enrichment:

Abilities, interests, Abilities, interests, learning styles, & learning styles, & supportive relationships supportive relationships (Baum, (Baum, RenzulliRenzulli, & Hebert, 1995), & Hebert, 1995)

How can we reverse How can we reverse underachievement?underachievement?

Encourage to selfEncourage to self--monitor workmonitor workChoices about activities they do & how to do Choices about activities they do & how to do Opportunities for free play with various Opportunities for free play with various materialsmaterialsAllow to engage in fantasy Allow to engage in fantasy Be a role modelBe a role model

Show that you value creativity & that you enjoy Show that you value creativity & that you enjoy thinking creatively thinking creatively (Hennessey, & (Hennessey, & AmabileAmabile, 1987) , 1987)

Primary curricular focus: An appeal to the Primary curricular focus: An appeal to the imagination imagination ((RenzulliRenzulli, 1992) , 1992)

Fostering Creativity Fostering Creativity (Nickerson, 1999)(Nickerson, 1999)

Establishing purpose and intention Establishing purpose and intention Building basic skills Building basic skills Encouraging acquisitions of domainEncouraging acquisitions of domain--specific knowledge specific knowledge Stimulating and rewarding curiosity and exploration Stimulating and rewarding curiosity and exploration Building motivation, especially internal motivation Building motivation, especially internal motivation Encouraging confidence and a willingness to take risks Encouraging confidence and a willingness to take risks Focusing on mastery and selfFocusing on mastery and self--competition competition Promoting supportable beliefs about creativity Promoting supportable beliefs about creativity Providing opportunities for choice and discovery Providing opportunities for choice and discovery Developing selfDeveloping self--management (management (metacognitivemetacognitive skills) skills) Teaching techniques and strategies for facilitating creative Teaching techniques and strategies for facilitating creative performance performance Providing balance Providing balance

1

Ch. 17.Creativity Across Cultures

Kyung Hee Kim, Ph.D.Eastern Michigan University

Cultural Influence on Creativity:The Relationship between Confucianism & Creativity

Rationale

Four P’s of Creativity (Rhodes, 1961)

Product: Ideas expressed in the form of language or craftPerson: Cognitive Abilities, Biographical Traits, PersonalityProcess: Mental processes that are operative in creating ideasPress: Person / Environment relationship

Confucianism (Press) may present some creativity blocks

Introduction to the topic and Rationale

We should remove cultural blocks that inhibit creativity. Confucianism may present some such blocks.Explore Confucianism and how itcompares to creativity researchUse this comparison to discover how Asian culture influences creativity.

Eastern and Western Views of CreativityWestern view: Creative products focus on tangible

forms (Hughes & Drew, 1984).

“Ability to produce work that is novel, original or unexpected, appropriate, useful, or adaptive concerning task constraints” (Barron, 1988; Jackson & Messick, 1967; Lubart, 1994, 1999; MacKinnon, 1962; Ochse, 1990; Stein, 1953; Sternberg, 1988; Sternberg & Lubart, 1991, 1995, 1996).

Eastern viewNot oriented toward tangible products. “A state of personal fulfillment & the expression or understanding of an inner sense of ultimate reality” (Chu, 1970; Kuo, 1996; Mathur, 1982).

Focus on meditation (Sarnoff & Cole, 1983).

Reinterpretation of traditional ideasWestern

A break with tradition (Kristeller, 1983).

Maslow’s view (1976): An individual’s striving for self-actualization Csikszentmihalyi’s flow (1996): Feeling of an individual’s experience while totally involved in an activity---Automatic, effortless, yet highly focused state of consciousness

where ego & time are lost & each movement or thought follows naturally from the previous one

Between the Western & Eastern

2

Confucianism

• Confucius (551-559 B.C.)

• Major cultural influence in China, Korea, Japan, Vietnam, Hong Kong, Singapore, & Taiwan

“Confucius” (551-559 B.C.)

Western name given by missionariesKong Fuzi, or Master Kong (공자)Son of an aging military officerFather

Had only daughtersMarried a 16-year old bride to have a sonDied when Confucius was 3

Mother was determined to have him educated

Confucius as a Student

Was a diligent studentWas tall, but had uninviting physical qualities

Compelled him to study harder Chose study over socializationRetreated from friends

Was a “Nerd”?

Confucius as a TeacherHis early 20s: Began Teaching

Age 50: became a magistrate of a district Age 54

left his home state & traveled widely in China with his disciples for 13 yearssharing his philosophies & ideas

After his travelsdevoted the rest of his life to editing classics & teaching disciples died at age 72

Taught & passed on his knowledge & political principles

The Analects of ConfuciusThe primary texts for Confucianism 20 books compiled

by his discipleswho had learned them by rote100 years after Confucius’ death

Several centuries after his deathhis teachings

became the official creed of the governing elitehad been retained until the late 19th century

Confucianism Criticized

During the Cultural Revolution (1966–1976)

Mao Zedong (1893–1976) was among those who recognized problemssought to create an alternative communism & modernity

– is far from Confucianism

For more than half a century the Chinese

Condemned itThought it was a barrier to Chinese progress

3

Confucianism Reappeared

Reversal in 1980sWith the East Asian countries’ economic, social, & political successLed by Japan & followed by the “4 Mini-Dragons (South Korea, Taiwan, Hong Kong, & Singapore)Economic prosperity was linked with Confucianism

E.g., the belief in hard work, education, filial piety, & company loyalty

Therefore, it was severely CriticizedBut, is still strong

The Four Principle of Confucianism

1. The Importance of Education2. The Family System3. The Hierarchical Relationship4. Benevolence

The Four Principle of Confucianismas they relate to Creativity

Importance of Education

Emphasis on EducationDevaluing Play Work-Play Dichotomy

Family System Filial Piety & HierarchyObedience & Dependence

Hierarchical Relationships

Obedience & HierarchyGender Role InequalityGender Role Expectations

BenevolenceSuppression of ExpressionSelf-EffacementConformity

Quiz:

Are Asian students smarter than American students?

1. The Importance of EducationHighly motivated towards the acquisition

of good educationOne reason for “the Asian 5 Dragons””Education Ethic”

Parents engage students in learning & support“Cram school” & homework

Success from hard work, effort, diligence, endurance, perseverance, & persistence

Predictor of later successAsian: DiligenceAmerican: Curiosity & originality

Positive Elements of Confucian Education found by American

Researchers

Importance of EducationFunding for SchoolsFamily SupportBelief in EffortRespecting TeachersTeacher-Student RelationshipsCentralized School Governance

4

But!“Exam Hell”

Extreme competition for acceptance into prestigious universities

Creativity in the Classrooms…

2. The Family System“Filial Piety”

Most essential value in East AsiaNo comparable concepts found in other culturesObedience to parentsStrict parenting

2. The Family System --continued

The present version of “Filial Piety”= Mutual interdependence

Most parentseducating & taking care of their children

Most childrenrepaying & taking care of their aging parents

2. The Family System --continued

One reason for “the 5 Dragons”(Extension of family)

Encouraging duty to the nation & society

Easier oppression for the sake of economic development

Emphasis on filial pietyLifelong commitment to the workers’jobs

3. The Hierarchical RelationshipHuman relationships

Regulated by the 5 Codes of Ethics based on 5 relationships

Ruler/subjectFather/sonHusband/wifeOlder brother/younger brotherBetween friends

Unequal & complementary

3. The Hierarchical Relationship --continued

Age-hierarchical societyAge: A mark of personal prestige & social authorityRespectful treatment accorded to elders Children

Accept all advice & demands without questioning

ParentsEnforce obedience & submissivenessAre authoritative figuresUse of punishment to control

5


Bias against womenInequality between Men & WomenObedience of women

To her parents in childhoodTo her husband in marriageTo her son in old age

Submissive role & Child producerOpposed educating women

Education: – A means of increasing value as a potential wife

Gender role expectations


Silent ClassroomsHierarchical relationshipsTraditional values

Great scholarly works: memorized & repeated

Rewarded memorization & recitation

Without expressing & questioning

Respecting teachers⇒ Passive & compliant classrooms

4. Benevolence

Self-restraint & self-discipline to oneselfFilial piety to parentsBrotherly love to elders Loyalty, personal duty & positive Interpersonal behaviors to society

4.1. Benevolence: Suppression of EmotionEmotional expressions: Inappropriate & must be internalized!

4.2. Benevolence: Minimization of Verbal Interaction

Restricted verbal expressionLower performance in verbal IQ

4.3 Benevolence: conformism

Collectivism & ConformismIndividuals’ rights (Western)Collective good & harmony (Asian): e.g, eating

Propensity for compromise & conflict avoidance

6

4.3 Benevolence: conformism --continued

Being modest Highly respected virtueNot supposed to be narcissistic

Research Questions

Is Confucianism inversely related to creativity scores?

What Confucian ideas have the most negative relationship with creativity?Is there any gender difference?

Is age related to Confucianism / creativity?

Research Questions (cont’d)

How many factors are found in the TTCT?

If two, are they similar to the hypothesized model in previous studies? Is there evidence that the two factors are Adaptive & Innovative?

Which factor is more related to Confucianism?

Best-fit Model in Previous Studies

Two-factor model based on Kirton’ s Adaptive - Innovative (1987)

Adaptors Prefer to create change by working within the existing paradigm Innovators Prefer to create change by threatening the paradigm

Years of experience of the trainers of the TTCT scoring program

Research Hypotheses

The more Confucian ideals you have, the lower your creativity scores will be.

The older you are, the more Confucian ideals you have

The older you are, the lower creativity scores you have

Men will have more Confucian ideals than women

Men will have lower creativity scores than women

A two-factor model will be a better fit than one-or three-factor model

7

MethodParticipants

184 Koreans [82(m)+102(f); M = 38.7 yrs.]126 teachers29 graduate students 17 professors12 education employees

InstrumentsThe Torrance Tests of Creative Thinking (TTCT) Eastern-Western Perspective Scale (EWPS)

Examples of EWPS items

People with greater seniority should have a much stronger voice in a company than those with less seniority (Item 32)

An obedient woman is better than a willful woman (Item 4)

It is better to be wary of eccentric people(Item 28)

Showing emotion is a sign of immaturity(Item 20)

A married man should put his parents’wishes above his wife’s (Item 41)

Method (cont’d)

ProceduresTranslate the TTCTCheck validity of the translated version. All of the participants will be asked to participate in the TTCT activity for 30 minutes.

All of the participants who sign the consent form will be asked to participate in the 30 –minute EWPS. Score by certified Korean scorersData EntryData analysis Evaluate the procedures and results of the research

Method (cont’d)

Data AnalysisIntercorrelations among

the total score / each item of the EWPSthe Creativity Index / subscale scores of the TTCTage

Exploratory factor analysis of the TTCT scores

ResultsNegative relationship between the EWPS & Creativity Index

r = -.439, p < .01 No significant relationship between Age & CreativityMen are more Confucian

Older people are more Confucian

But not for women

Intercorrelations Among the EWPS, Creativity Index & Age [N = 184 (Male = 82, Female = 102)]

-.163.148Female -.017.426*Male -.167.382*TotalAge

-.351*Female

-.442*Male

-.439*TotalCreativity Index

Creativity Index

EWPSGroup

•Note. *p < .01, one-tailed

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Results (cont’d)

Confucianism that show the strongest negative relationship with creativity

Obedience & HierarchyGender InequalityConformitySuppression of Expression

Results (cont’d)

All TTCT subscales had negative relationships with the EWPS Strongest negative relationships

ElaborationAbstractness of TitlesCreative Strengths

More negatively related to the Adaptive type

Intercorrelation Between TTCT Subscales & EWPS Total Scores (N = 184)

-.650*Creative Strengths

-.106Resistance to Premature Closure

-.276*Abstractness of Titles

-.357*Elaboration

-.212Originality

-.045Fluency

EWPSTTCT Subscale

Note. *p < .01, one-tailed.

Results (cont’d)

Implications

Advancing creative achievement requires

Self-evaluate our environmentRemove environmental blocks to creativity

Obedience & HierarchyGender InequalityConformitySuppression of Expression

1

Ch. 14. Creative PersonalityEastern Michigan UniversityKyung-Hee Kim, Ph.D.

Creative Person

Personality (a)

Creative people tend to:have a sense of humorhave a childlike approach to a problem [Fabun, 1968; Getzels & Jackson, 1962; Seeing like a child (Picasso)]

Sense of Humor

Lucille Ball

Whoopi Goldberg

Margaret ChoSense of HumorConfidenceSpontaneous

2

Creative Person

Personality (b)

Creative people tend to:be energetic (Taylor, 1988)

be more achievement oriented, ambitious, & driven (Albert & Runco, 1987; Feist, 1993; Simon, 1974)

be hard working

Thomas Edison

Thomas experienced school problems, in part because of his high energy.Hard working

Sarah Chang

Korean-American ViolinistHard working

Creative Person

Personality (c)

Creative people tend to:be curious (Eiduson, 1962)

be risk taking (Farley, 1986; Zuckerman, 1975; Davis, Peterson, & Farley, 1973)

Choi Seung-hee

Risk taking

•introduced eastern dance to the European world•Yet, she suffered exile and, almost certainly, assassination at the hands of a bloody tyrant.

Rudolph Nureyev

Risk taking

3

Creative Person

Personality (d)

Creative people tend to:have artistic interests (Davis & Subkoviak, 1978)

be perceptive (Tardif & Sternberg, 1988)

Ray Charles

Early interest in his area of achievementSometimes despite disabilities

Creative Person

Personality (e)

Creative people tend to:be attracted to complexity & novelty be original (Tardif & Sternberg, 1988)

Pablo Picasso

OriginalityStrong WillInternal Locus

of Evaluation

Creative Person

Personality (f)

Creative people tend to:be open-minded (Dacey, 1989; Barron, 1988; Tardif & Sternberg, 1988; Walberg, 1988; Walberg & Herbig, 1991)

be open to experience (interested in seeking sensation & more varied experiences), fantasy, & imagination (daydreaming) (Barron, 1972; Csikszentmihalyi & Getzels, 1973; Domino, 1974; Feist, 1989; Getzels & Csikszentmihalyi, 1976; MacKinnon, 1962)

Creative Person

Personality (f)

DaydreamingRobert daydreamed so much that he was put out of school. Frank went into such trancelike dreams that one had to shout at him to bring him back.

4

Robert Frost The Road Not TakenRobert Frost (1874–1963)

Two roads diverged in a yellow wood,

And sorry I could not travel bothAnd be one traveler, long I stoodAnd looked down one as far as I

couldTo where it bent in the

undergrowth;Then took the other, as just as fair,And having perhaps the better

claim,Because it was grassy and wanted

wear;Though as for that the passing

thereHad worn them really about the

same,

And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way,

I doubted if I should ever come back.

I shall be telling this with a sighSomewhere ages and ages hence:Two roads diverged in a wood,

and I—I took the one less traveled by,

And that has made all the difference.

Frank Lloyd Wright Creative Person

Personality (g)

Creative people tend to:

be independent (Chambers, 1964; Eiduson, 1962; Rushton, Murray, & Paunonen , 1987)

be self-evaluative

Georgia O’KeefeIndependent & self evaluativeLack of concern for social conventions

Creative Person

Personality (h)

Creative people tend to:be introverted--ability to be alone & away from others (Albert & Runco, 1987; Storr, 1988)

have needs for privacy or alone time (Storr, 1988)

5

Creative Person

Personality (i)

Creative people tend to:

be emotional, expressive, sensitive, manic, guilty (Barron, 1972; Csikszentmihalyi & Getzels, 1973; Getzels & Csikszentmihalyi, 1976; Feist, 1991; Runco & Bahleda, 1986)

have bipolar affective disorder (Andreasen & Glick, 1988; Richards, 1994)

be depressed (Walker, Koestner, & Hum, 1995)

Emotionally expressiveExperienced synesthesia-

Interpretation of one sense by another

see sound, smell colors, & taste shapes

More common in children& femalesGenetic

Vincent Van Gogh

Creative Person

Personality (j)

Creative people tend to:have alcohol & drug adictions, psychosis, &

suicide (Ludwig, 1995)

Creative Person

Personality (h)

Creative people tend to:question & rebel against established norms (rebellious, anti-social, nonconformist) (Hall & MacKinnon, 1969)

be persistent, egocentric, tough-minded (GÖtz & GÖtz, 1979; Hammond & Edelmann, 1991; Mohan & Tiwana, 1987)

Marie Curie

• Resistant to societal pressures

• Persistent

Creative Person

Personality (i)

Creative people tend to:be restless & talkative

Samuel's restlessness & verbal diatribes.Virginia demonstrated a tendency to talk on & on.

6

Samuel Taylor Coleridge Virginia Woolf

Creative Person

Personality (j)

Creative people tend to:be dominant & self-confident (Feist, 1993; Helson & Crutchfield, 1970; Rossman & Horn, 1972)

be spontaneous & impulsive (Barron, 1972; Getzels & Csikszentmihalyi, 1976; Helson, 1977)

Nikola Tesla

Inventions: rotating magnetic field principle, wireless communication, radio, fluorescent lights, & more than 700 other patents.

Spontaneous or impulsive?

Jumping from the roof of a barn, clutching an umbrella.Being chased by a flock of crows or angry hogsJumping from a church balcony onto the train of a lady’s dress

Creative Person

Personality (k)Creative Artistsare more anxious, emotionally liable, impulsive, sensitive, expressive of internal emotional states have low socialization, conscientiousness, nonconformity, rebelliousness (Andreasen & Glick, 1988; Csikszentmihalyi & Getzels, 1973; Gardner, 1973; Getzels & Csikszentmihalyi, 1976; Jamison, 1993; Ludwig, 1995; Richards, 1994; Russ, 1993; Simonton, 1988)

Consistency of creative personality(Camp, 1994; Dudek & Hall, 1991; Feist, 1995; Getzels & Csikszentmihalyi, 1976; Helson, 1987; Helson, Roberts, &

Agronick, 1995; Terman, 1954), but not for musical precocity(Winner & Martino, 1993)

1

Kyung-Hee Kim, Ph.D.Eastern Michigan University

Torrance’s Manifesto For Children:

• 1. Don’t be afraid to fall in love with something & pursue it with intensity.


• 2. Know, understand, take pride in, practice, develop, exploit, & enjoy your greatest strengths.


• 3. Learn to free yourself from the expectations of others & to walk away from the games they impose on you. Free yourself to play your own game.


• 4. Find a great teacher or mentor who will help you.


• 5. Don’t waste energy trying to be well-rounded.

2


• 6. Do what you love & can do well.


• 7. Learn the skills of interdependence.

Families who nurture creativity.. Yes

• Parents' communication style: Not one way--directive, vague, & rigid (e.g., Chung, 1993)

• More complex, varied, & expressive than other families (Albert, 1994, 1996)

• Less strict, critical, & punitive, but allow greater freedom (Halpin, Payne, & Ellett, 1973)


• Psychologically safe environment• Need freedom & security in order to

explore & be creative (Tegano, Sawyers, & Moran, 1989; Runco & Nemiro, 1994)

• Divergence is permitted & risks are accepted (Getzels & Jackson, 1961)

• Room for autonomy (Datta & Parloff, 1967; Domino, 1969)

• Independence• By providing the freedom & the

psychological safety to explore, experiment, & make decisions (Freeman, 1985; Harrington, Block, & Block, 1987; MacKinnon, 1961; Michel & Dudek, 1991)

Families who nurture creativity.. Yes• Have an ongoing dialogue (Isenberg & Jalongo, 1997)

• No reliance on the use of premature & excessive worksheets & academic material (Isenberg & Jalongo, 1997)

• Provide parental explanations of family decisions & rules, children a voice in establishing rules (Baldwin, 1949; MacKinnon, 1961)

• Egalitarian child rearing (Dewing & Taft, 1973)

• Flexibility in guiding children’s behavior• No reliance on rigid rules (Dacey, 1989)

Families who nurture creativity.. No

• Authoritarian child-rearing (Datta & Parloff, 1967; Dewing, 1970; Foster, 1968; Gardner & Moran, 1990)

• Parental vigilance (Getzels & Jackson, 1961)

• Hostile, rigid, & controlling home environments (Halpin, 1973; Papalia & Olds, 1986)

3


• Emotional distance among family members (Drevdahl, 1964; Saxena & Kumar, 1985)

• Open but not overly close- little clinging or conformity (Weisberg & Springer, 1961)

• Non-overly dependent parent-child relationship (Dewing, 1970)

• Mild parental rejection- slightly rebellious attitude- leading to more independent thinking (Siegelman, 1973)

• Not extreme levels of rebellion • Enjoying experiences separate from the family

(Hudson & Stinnett, 1990)

• Less encouragement of all family members to do all things together (Hurlock, 1978)

Families who nurture creativity..

• Recognize• Value• Encourage• Model• Protect• Stimulate their children’s

creativity.

1

The Torrance Tests of Creative Thinking

Verbal and Figural Measures of

CreativityPresented by

Dr. Bonnie CramondDr. Kyung Hee Kim

TTCT Verbal

Thinking Creatively with Words– alternate forms A & B; Kindergarten-Adult– 6 activities, 5 or 10 minutes each, multiple responses

1-3. Ambiguous picture• Ask questions• Guess Causes• Guess consequences

4. Product Improvement5. Unusual Uses6. Just suppose

– Scored for fluency, flexibility, and originality

Activities 1-3: Ask and Guess are based on one picture...

BA

Activities 1-31. Asking questions about the picture

2. Guessing Causes of the action in the picture

3. Guessing Consequences, immediate or long-term about the picture

5 Minutes Each

Act 4: Product ImprovementThe task is to improve a toy so that it is more fun to play with

10 Minutes

“Alter it to make it a warrior elephant with lots of accessories to defend Earth from the orangutan pack”“Give it bigger ears, call it Dumbo, and write a sequel”“Make it come with an elephant circus--tight-rope walker elephants, lion tamer elephants, ...”

TTCT Verbal Responses by 7th grader with Reading/Writing LD

2

Act. 5: Unusual UsesThe task is to think of alternative uses for

a common object like a brick.– Uses for parts of the objects are

acceptable--eg. “Crush the brick to make a powder for coloring”

– Fantastic or impossible uses beyond all possible reality are not counted.

10 minutes

Act. 6: Just SupposeHypotheses about an improbable situation

Example:

Just Suppose…we could transport ourselves

anywhere we want with just a twitch of the nose or

blink or the eye. What would be some problems,

benefits, etc. of this situation?

Scoring Components

Fluency--the number of relevant ideas

Originality--the unusualness of the

ideas

Flexibility (Shifts)--the variety of ideas

TTCT--FiguralThinking Creatively

with Pictures– Alternate forms A & B; K-

adult– 3 activities, 10 minutes

each, multiple responses• 1) One large stimulus

figure

• 2) Ten incomplete figures

• 3) 2-3 pages of repeated figures

Scoring Components• Fluency• Originality• Abstractness of titles• Elaboration• Resistance to Premature Closure• Checklist of Creative Strengths

Fluency--a count of the number of relevant ideas

• The stimulus must be used

3

Originality

• a count of the number of statistically infrequent ideas

Bike

Abstractness of Titles• 0 = simple class title

“girl”• 1 = class title with

descriptor(s) “little girl”• 2 = imaginative title that

goes a little beyond the picture “I really like him.”

• 3 = abstract but appropriate title “Happiness”

Elaboration--a count of the number of ideas added

• Beyond the minimum details that would be necessary for the basic response

Elaboration• One point for each

additional idea added to the basic response and in the surrounding space

• Additional ideas include: decoration, details, shading, body position, etc.

smokeshape

ashmore

Roof detail

panes

chimney

sun

outline

Varied rays

tree

branches

Stepping stone

Different shapesleaves

flower

knob

Additional tree

petals Colors=12

Resistance to Premature Closure

Degree of openness• Based on Gestält psychology

• Scored on incomplete figures only

Checklist of Creative Strengths• 13 criterion referenced indicators, including:

– Emotional expressiveness– Storytelling articulateness– Movement or action– Synthesis of figures– Expressiveness of titles– Unusual or internal visualization– Humor– Richness or colorfulness of imagery– Boundary breaking– Fantasy

4

Creative Strengths• Storytelling

articulateness• Emotional

expressiveness• Movement or action

Creative Strengths• Unusual

visualization• Fantasy• Movement or action

Creative Strengths• Synthesis of figures• Movement or action• Storytelling

articulateness

Gun sounds scare the birds.

Differences between theFigural & Verbal

• Drawn responses• 3 activities• 30 minutes test time

(3 X 10)• 5 norm-ref and 13

criterion-ref components

• Verbal responses • 6 activities• 45 minutes test time

(3 x 5) + (2 x 10)• 3 scoring components

_The verbal and figural measure different creative thinking abilities!

Similarities Between Figural and Verbal TTCTs

• Both are standardized measures of creative strengths

• Both are culture fair• Both provide an comprehensive score,

grade norms, and national percentiles; the figural also has age norms.

• Both have had 40+ years of trial and research

Evidence of Creativity--Figural for James Stevenson

0

20

40

60

80

100

120

SS %ile

FluencyOriginalityTitlesElaborationResist ClosCreative StrComposite

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James Stevenson’s Verbal Scores

020406080

100120140160

Fluency Flexibility Originality Overall

SSPercentile

Comparison of Verbal & Figural Scores on TTCT

0

20

40

60

80

100

120

140

160

Fluency Flex Orig Overall

SS-VPercentile-VSS-FPercentile-F

the history of research on creativity - william and...

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