The aim of research is: to distinguish four approaches of defining the essence of creativity depending on which one of the four aspects of this problem is dominant in some a case: the environment in ...which creative activity is carried out; a creative product; a creative process; a creative person, his/her characteristics. The following theoretical methods of the research were used to solve the tasks formulated in the article: a categorical method, structural and functional methods, the methods of the analysis, systematization, modeling, generalization. The results of the research. After analyzing different approaches, we provide the following classification of definitions of creativity: 1) definitions that take into account novelty as the main criterion of creativity. In such a way, we point out that the characteristic «production of something new» is actually included these definitions. However, we’ll differently propose the approaches with the description of the novelty. Thus, we believe that it does not matter whether a society recognizes a certain idea as a new one, but it is important that it has to be new to the creator. On the contrary, we believe that novelty should be fixed in terms of culture, be recognized by contemporaries; 2) definitions in which creativity is opposed to conformity. It includes the definitions, which, contrasting the creativity to conformity, emphasize the importance of bringing originality, a new look at the problem. Such definitions include the understanding of creativity in such a way, when we believe that a creative person is free from both sides – we mean conformism and nonconformism; 3) definitions that focus our attention on the creative process. Thus, we emphasize the importance of creative thinking, and we consider creative thinking as a process of seeing or creating relationships between objects, phenomena, objects on both conscious and unconscious levels. In such a way, we distinguish four stages of the creative process: preparation, incubation, comprehension, review (or analysis). This understanding of creativity is based on any existing method of systematic training of subjects in the process of creative thinking; 4) the definitions that emphasize the importance of developing mental abilities of the person. We define creativity in a view of the development of mental abilities of the individual, which in such a way provides creative achievements in the process of the person’s activity. According to this, creative thinking includes divergent products in its structure, which, in turn, contribute to the generation of new, original, unusual and perhaps unique informational levels based on this standard, well-known paradigm of information. However, creative thinking is not reduced to divergent one, because it also implies a person’s sensitivity to problems, the ability to reorient. Conclusions. We proposed the approach based on determining the levels of creativity which are developed by writing. We offered the following levels of creativity: a) expressive creativity – for example, spontaneous drawing by children; b) productive creativity – scientific and artistic products; c) inventive creativity, when ingenuity is manifested in materials, methods and techniques; d) innovative creativity – improvement through modification; e) generating creativity – the formulation of a completely new principle or assumption around which new ideas, concepts, theories and schools may arise.
Individual creativity support systems have been developed to facilitate creative work. This article reviews the various design requirements and approaches proposed for supporting individual creative ...work, as well as relevant creativity theories. Current creativity support systems use many approaches in supporting the collection of relevant information and the creation of ideas or artifacts. However, the designs are typically based on just a few creativity theories. Based on various creativity theories, we propose a new integrated framework for individual creativity support systems. This framework enumerates aspects, components, and features of creativity support systems.
•A review of recent advances in individual creativity support systems.•A classification of creativity theories relevant to individual creativity support systems.•A new framework for individual creativity support systems grounded on creativity theories.
The visual modality is central to both reception and expression of human creativity. Creativity assessment paradigms, such as structured drawing tasks Barbot (
2018
), seek to characterize this key ...modality of creative ideation. However, visual creativity assessment paradigms often rely on cohorts of expert or naïve raters to gauge the level of creativity of the outputs. This comes at the cost of substantial human investment in both time and labor. To address these issues, recent work has leveraged the power of machine learning techniques to automatically extract creativity scores in the verbal domain (e.g., SemDis; Beaty & Johnson
2021
). Yet, a comparably well-vetted solution for the assessment of visual creativity is missing. Here, we introduce AuDrA – an Automated Drawing Assessment platform to extract visual creativity scores from simple drawing productions. Using a collection of line drawings and human creativity ratings, we trained AuDrA and tested its generalizability to untrained drawing sets, raters, and tasks. Across four datasets, nearly 60 raters, and over 13,000 drawings, we found AuDrA scores to be highly correlated with human creativity ratings for new drawings on the same drawing task (
r
= .65 to .81; mean = .76). Importantly, correlations between AuDrA scores and human raters surpassed those between drawings’ elaboration (i.e., ink on the page) and human creativity raters, suggesting that AuDrA is sensitive to features of drawings beyond simple degree of complexity. We discuss future directions, limitations, and link the trained AuDrA model and a tutorial (
https://osf.io/kqn9v/
) to enable researchers to efficiently assess new drawings.
What's Wrong with Creativity Testing? Sternberg, Robert J.
The Journal of creative behavior,
March 2020, 2020-03-00, Letnik:
54, Številka:
1
Journal Article
Recenzirano
Creativity testing as it is now done is often based on a defective assumption that different kinds of creativity can be compressed into a single unidimensional scale. There is no reason to believe ...that the different kinds of creativity represent, simply, different amounts of a single unidimensional construct. The article shows how three different ways of viewing creativity lead to different ways of measuring creativity, all at variance with current unidimensional models. The point of view presented here does not suggest that current creativity tests are invalid, but rather, that care must be taken in the nature of claims made for them. Moreover, many of the same arguments could be applied to the measurement of intelligence and even wisdom as well.
Semantic distance is a promising automated measure of creativity. However, it is not yet known whether semantic distance can assess creative products that are both novel and appropriate. To isolate ...novelty and appropriateness, participants were asked to generate a verb in response to a given noun in 3 different ways: (a) generate appropriate but not novel responses (common cue), (b) generate novel but not appropriate responses (random cue), and (c) generate responses that are both novel and appropriate (creative cue). Automated semantic distance scores and subjective ratings of creativity, novelty, and appropriateness were assessed. When participants were explicitly cued to be creative, the increased semantic distance of their responses represented increases in novelty that was constrained by an appropriateness criterion (Experiments 1 and 2). Participants cued to generate random responses had the highest semantic distance scores, but without applying the appropriateness criterion, their creativity scores suffered (Experiments 1 and 2). Additionally, participants appeared to implicitly apply the appropriateness criterion when generating creative responses (Experiment 2). In conclusion, automated measures of semantic distance can assess novel and appropriate creative responses while avoiding the pitfalls inherent to subjective ratings of creativity.
Using the impact of the Soviet Union’s collapse on the performance of theoretical mathematicians as a natural experiment, we attempt to resolve the controversy in prior research on whether ...specialists or generalists have superior creative performance. While many have highlighted generalists’ advantage due to access to a wider set of knowledge components, others have underlined the benefits that specialists can derive from their deep expertise. We argue that this disagreement might be partly driven by the fact that the pace of change in a knowledge domain shapes the relative return from being a specialist or a generalist. We show that generalist scientists performed best when the pace of change was slower and their ability to draw from diverse knowledge domains was an advantage in the field, but specialists gained advantage when the pace of change increased and their deeper expertise allowed them to use new knowledge created at the knowledge frontier. We discuss and test the roles of cognitive mechanisms and of competition for scarce resources. Specifically, we show that specialists became more desirable collaborators when the pace of change was faster, but when the pace of change was slower, generalists were more sought after as collaborators. Overall, our results highlight trade-offs associated with specialization for creative performance.
Summary
Researchers have examined the effects of individual job‐related anxiety on employee attitudes and behaviors but have yet to examine whether team job‐related anxiety would have similar or ...different effects. Building on prior research on negative group affective tone and creativity, we propose that team job‐related anxiety has an inverted U‐shaped curvilinear relationship with both team and individual creativity. Furthermore, we posit that team cooperativeness moderates those curvilinear relationships. Using a two‐wave research design and matched employee‐supervisor data from 290 employees nested in 65 teams, we found support for the proposed inverted U‐shaped relationships. Moreover, the intermediate level of team job‐related anxiety was associated with higher individual creativity in teams with higher cooperativeness. We conclude the study with a discussion of the theoretical and practical implications of our findings.
The paper by Kaufman (2018) calls for more research on the consequences of creativity. While we typically think about the positive consequences of creativity, it is important to understand that ...creativity can have negative, both intended and unintended consequences. In this commentary, I review the nascent literature on negative and malevolent creativity, and specifically discuss concerns regarding measurement. Having a consistent way to evaluate and measure negative creativity is critical to our understanding and future research.
The present study describes the association between Intelligence and Creativity, considered from Cattell's approach and divergent thinking respectively, and by means of two empirical studies. The ...first study (S1), analyzed the relationship between fluid intelligence (gf) and figural creativity in 359 children from 8 to 14 years old, finding an association between gf and every creativity indicator except for elaboration. The second study (S2), evaluated the correlation between crystallized intelligence (gc) and gf and verbal creativity in a sample consisted of 120 adolescents between ages 15 and 18 years, showing a positive association between intelligence and verbal creativity and asserting gc as the trait of the intelligence which predicts verbal creativity. Results from both studies support the hypothesis that assumes that creativity and intelligence are separated constructs which overlap in some aspects, and suggest that intellectual skills (gc vs. gf) are selectively associated with the different types of creativity (verbal vs. figural) and their indicators.
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