Numerous studies had found that creativity is not only associated with low effort and flexible processes, but also associated with high effort and persistent processes especially when defensive behavior being induced negative emotions. The important role of self-esteem is to buffer the negative emotions and low self-esteem are prone to instigate various forms of defensive behaviors. Thus, we thought that the relationships between trait creativity and executive control brain networks might be modulated by self-esteem. The resting-state electroencephalogram (...) (RS-EEG) microstates can divided into four classical types (MS1, MS2, MS3 and MS4) which can reflect the brain networks as well as the dynamic characteristic of them. Thus, Williams creative tendency scale (WCTS) and Rosenberg Self-Esteem Scale (RSES) were used to investigate the modulating role of self-esteem on the relationships between trait creativity and the RS-EEG microstates. As our results showed, self-esteem consistently modulated the relationships between creativity and the duration and contribution of MS2 related to visual or imagery processing, the occurrence of MS3 related to cingulo-opercular networks, as well as transitions between MS2 and MS4 which was related to frontoparietal control networks. Based on these results, we thought that Moreover, individuals with low self-esteem might be more prone to influenced by negative emotions and develop low trait creativity; bottom-up information from vision or visual imagery might be beneficial to develop trait creativity for individuals with high self-esteem to improve trait creativity, while inhibition of irrelevant information could facilitate trait creativity for individuals with low self-esteem. (shrink)

Governments have adopted strict home quarantine measures during the COVID-19 pandemic. A monotonous, barren, and under-stimulating environment can cause state boredom, and people often deal with boredom via novelty-seeking behavior. Novelty-seeking behavior can be divided into “novelty input” and “novelty output.” The former refers to obtaining novel information such as browsing the Web; the latter refers to engaging in creative behavior such as literary creation. This study explores the relationship between two types of novelty-seeking behavior and individual state boredom during (...) home quarantine, along with the moderation effect of trait creativity. The study sample consists of 582 Chinese college students who were quarantined at home during the COVID-19 pandemic. Participants completed the Multidimensional State Boredom Scale, the Williams Creativity Aptitude Test, and self-compiled questionnaires of novelty input and novelty output. The results show that there is no significant relationship between novelty input or novelty output and boredom during the COVID-19 quarantine. Trait creativity is found to negatively moderate the relationship between the two means of novelty seeking and boredom. Specifically, novelty output negatively predicts the state boredom of individuals with high creativity, while novelty input positively predicts the state boredom of individuals with low creativity. Our findings suggest that different novelty-seeking behaviors may have different effects on the boredom level of individuals with high versus low creativity during quarantine. During a quarantine period, individuals should avoid excessively engaging in novelty input behaviors aimed at escaping boring situations. (shrink)

Significant research has been conducted on the influence of entrepreneurial intention on entrepreneurial education and entrepreneurship practice. Similarly, this study aims to explore how creativity plays a mediating role in the influence of personality traits on entrepreneurial intention. As many as 674 valid questionnaires were collected from college students in China, allowing the relationship between personality traits, creativity, and entrepreneurial intention to be analyzed in detail. The following results are found through a series of explorations. First, neuroticism in (...) personality traits has a significant negative impact on entrepreneurial intention, while conscientiousness, openness, and extraversion have a significant positive impact. Second, neuroticism has a significant negative impact on creativity, while conscientiousness, openness, and extraversion have a significant positive impact. Third, creativity has a significant positive impact on entrepreneurial intention, it has a partial mediating role between neuroticism, conscientiousness, extraversion, and entrepreneurial intention along with a complete mediating role between openness and entrepreneurial intention. The research results further provide a reference value for the improvement and optimization of entrepreneurial practice. (shrink)

This study examined the cognitive mechanism underlying acute stress in creative cognition among individuals with high and low trait anxiety. Specifically, cognitive inhibition was assessed using the flanker task during acute stress. Fifty-two participants (26 high trait anxiety, 26 low trait anxiety) (mean age = 18.94 years) underwent stress induction via the Trier Social Stress Test (TSST). They all completed the Alternative Uses Test (AUT) and the Remote Associates Test (RAT) before and after the TSST. Biochemical markers (...) (salivary cortisol and salivary alpha amylase) were recorded at regular intervals. The results showed that cognitive inhibition was influenced by trait anxiety and acute stress. Compared to before experiencing acute stress, there was a lack of cognitive inhibition in low trait anxious individuals and they performed better in AUT (fluency) after acute stress, whereas high trait anxious individuals showed a decreased interference effect and reduced performance in AUT (fluency, flexibility, and originality). In the RAT, there were shorter response times and increased accuracy after acute stress in both high and low trait anxiety groups. Thus, we suggest that cognitive control, which modulates changes in acute stress, influences creative cognition. These findings provide evidence that inhibition control mediates the effect of stress on the creativity of individuals with different trait anxiety. (shrink)

The current research focuses on the nature of the relationship comprising personality traits, creative thinking, and academic integrity. Scholars have confirmed that personality traits and creative thinking correlate positively with academic integrity. However, a discussion of academic integrity, personality traits, and creative thinking is missing in the scholarly literature. This study used a questionnaire survey based on the Big Five Factor to identify personality characteristics, the Academic Integrity Inventory, and the Torrance Tests of Creative Thinking. The sample included 976 students (...) studying in four academic colleges in Israel, of which two are teacher training colleges and two colleges awarding a degree in education. The findings show that most of the students (71%) reported they had cheated at some point during their academic studies, and only one-fifth (21%) thought that they would condemn their peers’ lack of integrity. Creative thinking students and emotionally stable persons tend to be more ethical. Hence, we conclude that it is recommended to deliver creative thinking courses in the teacher’s educational training programs to improve creative thinking levels, reduce academic dishonesty, and create more effective curricula. (shrink)

Emotional creativity refers to a set of cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that emotional creativity can positively predict posttraumatic growth and mental health. The outbreak of coronavirus disease 2019 (COVID-19) has posed great challenges to people’s daily lives and their mental health status. Therefore, this study aims to address the following two questions: whether emotional creativity can improve posttraumatic growth and mental health during the (...) COVID-19 pandemic and how it works. To do this, a multiple mediation model has been proposed, which supposes that emotional creativity is associated with posttraumatic growth and mental health through perceived social support and regulatory emotional self-efficacy. The study involved 423 participants from multiple regions with different COVID-19 involvement levels. Participants were asked to complete a questionnaire with six parts, which included Emotional Creativity Inventory (ECI), Regulatory Emotional Self-Efficacy Scale (RES), Stress-Related Growth Scale-Short Form (SRGS-SF), Multidimensional Scale of Perceived Social Support scale (MSPSS), Brief Symptom Inventory-18 scale (BSI-18), and COVID-19-related life events questionnaire. Path analysis used to examine the mediation model indicated that under the control of COVID-19-related life events and age, perceived social support mediated a positive association between emotional creativity and posttraumatic growth as well as a negative association between emotional creativity and all mental health problems, including somatization, depression, and anxiety. Regulatory emotional self-efficacy mediates the association between emotional creativity and posttraumatic growth, emotional creativity and anxiety, and emotional creativity and depression. The results suggest that emotional creativity plays an important role in coping with stressful events related to COVID-19. Furthermore, these results might provide a better understanding of the possible paths through which emotional creativity is related to psychological outcomes, such as mental health and posttraumatic growth. (shrink)

Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of (...) EC in different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

This chapter summarizes the conceptual foundations and research on emotional creativity. Emotional creativity is defined as a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. This construct pervades human creative performance and represents an important link between emotional experience and cognitive processes. Empirical research in this field has revealed various links of emotional creativity to personality variables (e.g., openness to experience), positive affect, fantasy proneness, coping strategies, post-traumatic growth, better self-understanding, (...) and one’s engagement in practicing creative leisure activities. In the applied settings, emotional creativity has been found to be positively related to the intrinsic motivation of employees, the innovative performance of employees, teaching efficacy, and an increased awareness of professional roles. Interestingly, the available meta-analysis of past studies revealed that women showed significantly higher emotional creativity than men. Emotional creativity has also been found to be lower in older adulthood compared to younger age. Because the levels of emotional creativity were found to be sensitive to the decline of cognitive functions in older adults, their decrease can be considered as one of the indicators of cognitive aging. Recent research in clinical neuropsychology has also revealed that older adults in the early stages of Parkinson’s disease showed decreased emotional creativity compared to healthy older adults. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and (...) graduates scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

Creativity may be a trait, a state or just a process defined by its products. It can be contrasted with certain cognitive activities that are not ordinarily creative, such as problem solving, deduction, induction, learning, imitation, trial and error, heuristics and "abduction," however, all of these can be done creatively too. There are four kinds of theories, attributing creativity respectively to (1) method, (2) "memory" (innate structure), (3) magic or (4) mutation. These theories variously emphasize the role (...) of an unconscious mind, innate constraints, analogy, aesthetics, anomalies, formal constraints, serendipity, mental analogs, heuristic strategies, improvisatory performance and cumulative collaboration. There is some virtue in each, but the best model is still the one implicit in Pasteur's dictum: "Chance favors the prepared mind." And because the exercise and even the definition of creativity requires constraints, it is unlikely that "creativity training" or an emphasis on freedom in education can play a productive role in this preparation. (shrink)

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...) understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

Virtue accounts of innovation ethics have recognized the virtue of creativity as an admirable trait in innovators. However, such accounts have not paid sufficient attention to the way creativity functions as a collective phenomenon. We propose a collective virtue account to supplement existing virtue accounts. We base our account on Kieran’s definition of creativity as a virtue and distinguish three components in it: creative output, mastery and intrinsic motivation. We argue that all of these components can (...) meaningfully be attributed to innovation groups. This means that we can also attribute the virtue of creativity to group agents involved in innovation. Recognizing creativity as a collective virtue in innovation is important because it allows for a more accurate evaluation of how successful innovation generally happens. The innovator who takes a collective virtue account of creativity seriously will give attention to the facilitation of an environment where the group can flourish collectively, rather than only nurturing the individual genius. (shrink)

Both scientific evidence and folklore have suggested that madness is associated with creativity, especially in the arts. Recently, more rigorous studies have confirmed to some extent these previous observations. The current view is that it is not severe and acute insanity that is related to heightened creativity, but the personality roots and soft manifestations of both schizophrenic and bipolar psychoses. The affective and cognitive peculiarities associated with schizotypic and hypomanic personalities may be preferentially related to different kinds of (...) creative endeavours, such as the sciences and arts, respectively. The connection between personality traits and creativity is produced because they share some biological-cognitive-personality features, such as cognitive disinhibition. Additionally, it has been shown that the genetic liability for both bipolar and schizophrenic psychoses is related to creativity. A prevailing hypothesis is that creativity may be one type of 'compensatory advantage' for those carrying the genes for psychosis. (shrink)

The main aim of this essay is to propose and develop a product?oriented, non?psychologistic, approach to scientific and artistic creativity. I first argue that the central problem is that of answering the question: how is creativity possible? Traditional approaches to this question tend to locate creativity primarily in some special psychological processes or traits, or in some special creative act. Some general arguments against such an approach are developed, and it is suggested that creativity ought primarily (...) to be located in scientific and artistic products. I then investigate the question ?what aspects of such products lead us to evaluate them as creative?? and use the results of this inquiry as a set of desiderata against which to evaluate various general views as to the nature of the creative process itself. The upshot of this procedure is the development of a kind of ?Darwinian? model whose novel feature lies in the suggestion that the process of production has, in effect, been controlled (plastically) by those very factors which can enable the product to be a creative one. (shrink)

The thought that creativity is a kind of virtue is an attractive one. Virtues are valuable traits that are praised and admired, and creativity is a widely celebrated trait in our society. In philosophical ethics, epistemology, and increasingly aesthetics, virtue-theoretical approaches are influential, so an account of creativity as a virtue can draw on well-established theories. Several philosophers, including Linda Zagzebski, Christine Swanton and Matthew Kieran, have argued for the claim that creativity is a virtue, (...) locating this claim within a broader picture of intellectual, ethical and aesthetic virtues respectively. Moreover, a prominent research programme in psychology, led by Teresa Amabile, holds that people have an intrinsic motivation when they are creative, and this seems seamlessly to fit with the view that creativity is a virtue, for it is often held that a requirement for a trait to be a virtue is that the virtuous agent acts from an intrinsic motivation. (shrink)

The main aim of this essay is to propose and develop a product?oriented, non?psychologistic, approach to scientific and artistic creativity. I first argue that the central problem is that of answering the question: how is creativity possible? Traditional approaches to this question tend to locate creativity primarily in some special psychological processes or traits, or in some special creative act. Some general arguments against such an approach are developed, and it is suggested that creativity ought primarily (...) to be located in scientific and artistic products. I then investigate the question ?what aspects of such products lead us to evaluate them as creative?? and use the results of this inquiry as a set of desiderata against which to evaluate various general views as to the nature of the creative process itself. The upshot of this procedure is the development of a kind of ?Darwinian? model whose novel feature lies in the suggestion that the process of production has, in effect, been controlled (plastically) by those very factors which can enable the product to be a creative one. (shrink)

It is increasingly argued that polymathy—vocational and avocational pursuits in multiple domains—is deeply associated with creativity and innovation, and that its development enables the creation of important bridges between otherwise fragmented, dispersed sets of knowledge. Nevertheless, the dominant culture in both industry and academia is still that of narrow specialization. In this paper, we argue that in the context of COVID-19 crisis, with its wicked and transdisciplinary nature, the disciplinary approach of specialization is ill-suited to solve our increasingly complex (...) problems, and that polymathic thinking can be a crucial asset in this regard. Drawing on different literature strands, we first examine the interplay between polymathy and other well-developed constructs in personality and temperament research. We then advance theoretical predictions regarding the relationship between trait polymathy and resilience in the COVID-19 crisis. After that, we discuss learnable strategies that can be used in complex, uncertain and adverse situations, which are associated with development of a more polymathic set of knowledge. Later, we discuss how it may be possible to better capitalize on the key features of polymathic thinking at the societal level. Finally, we conclude with a reflection on the adequacy of our current institutions for dealing with complex problems, and we underscore the crucial role of polymathic thinking in an increasingly complex and interrelated world. (shrink)

This article draws on the ethnography of Aboriginal Australia to argue that perceptual openness, extending from waking life into dreaming experience, provides an important cognitive framework for the apprehension of dreamt experience in these contexts. I argue that this perceptual openness is analogous to the “openness to experience” described as a personality trait that had been linked with dream recall frequency. An implication of identifying perceptual openness at a cultural rather than at an individual level is two-fold. It provides (...) an example of the ways in which cultural differences affect perception, indicative of cognitive diversity; and, given the relationship between dreams and creativity suggested anecdotally and through research, a cultural orientation toward perceptual openness is also likely to have implications for the realization of creativity that occurs through dreams. Such creativity though cannot be separated from the relational context in which such dreamt material is elaborated and understood. (shrink)

The complexity and challenges of the external environment accelerate the awakening of the new generation of enterprise employees’ self-consciousness. Facing the continuous expansion of the information-based work mode, the traditional management mechanism of enterprises has a more limited impact on employee performance. Based on the goal-oriented theory, developing and excavating the creative personality traits of employees, making full use of goal-oriented behavior to improve their own innovation performance management path, are expected to become a new path to continuously enhance the (...) innovation ability of enterprises. In this study, we take the employees of high-tech enterprises as samples to explore the influence mechanism of creative personality traits, goal orientation and employee innovation performance. The results show that goal orientation significantly moderates the relationship between creative personality traits and innovation performance. The mediating effects of learning goal orientation, performance certification orientation, and performance avoidance orientation are all significant. (shrink)

Creative activities in a classroom can often be mistaken for negligence of academic requirements. This is especially true for many African American students. Recognition of the mental processes used in the expression of creative behaviors should give teachers the opportunity to harness this creative energy to develop academic skills. This article draws upon a historical perspective of creativity and its relationship to this trait in African Americans. Although many of the behaviors listed are common in all ethnic groups (...) those behaviors listed as uniquely evident among African American students are derived from assumptions made from experiences by various scholars, research documents and historical data. Strategies for addressing and enhancing these creative behaviors are included. (shrink)

Evolutionary adaptation has been suggested as the hallmark of life that best accounts for life’s creativity. However, current evolutionary approaches still fail to give an adequate account of it, even if they are able to explain both the origin of novelties and the proliferation of certain traits in a population. Although modern-synthesis Darwinism is today usually appraised as too narrow a position to cope with all the complexities of developmental and structural biology—not to say biosemiotic phenomena—, Darwinism need not (...) be if we separate metaphor from reality in natural selection in order to show the axiological complexity of this concept. This can shed light on the relationship between biosemiotics and biological evolution. (shrink)

Workplace stressors were identified to have critical impacts on employee creativity. However, little is known about how and when involuntary citizenship behavior (i.e., compulsory citizenship behavior, CCB)-induced stress might exert influence on employee creativity. To fill this void, the present study firstly develops a moderated mediation model to investigate the CCB—employee creativity association as well as the underling mechanism and contextual condition of this relationship. By integrating social cognitive theory such as self-efficacy theory and conservation of resources (...) (COR) theory, we propose that CCB predicts employee creativity through the mediating role of creative self-efficacy (CSE), with the individual characteristics (i.e., personality traits) of negative affect acting as a boundary condition. Using two-wave time-lagged survey data collected from a sample of 251 front-line employees in 10 manufacturing firms in Southern China, the results show that: (a) CSE mediates the negative relationship between CCB and employee creativity; (b) negative affect moderates the relationship between CCB and CSE; (c) negative affect moderates the indirect influence of CCB on employee creativity through CSE. As the level of negative affect rises, this indirect relationship is stronger. Finally, important theoretical and managerial implications and promising avenues for future research are addressed. (shrink)

In the target article, Crespi & Badcock (C&B) propose a novel hypothesis based on observations that a large set of phenotypic traits exhibit diametrically opposite phenotypes in autism-spectrum versus psychotic-spectrum conditions. They propose that development of these conditions is mediated in part by alterations in This hypothesis is based on the model of the Prader-Willi and Angelman syndromes. The authors have produced a masterful discussion of the differences between psychosis and autism. Of course, another article could be written on the (...) similarities. (shrink)

Nowadays, many countries are promoting entrepreneurial education or the “innovation, entrepreneurship, and creativity” education. Entrepreneurial education can enhance a nation’s economic competitiveness and give rise to new business. At the moment, entrepreneurial courses are mostly designed by school teachers; however, while school teachers may possess business experience, they lack in entrepreneurial experience. Hence, entrepreneurial education courses call for experts with entrepreneurial experience to contribute to course designs and assist with course teachings. Entrepreneurial education not only improves a student’s entrepreneurial (...) skills, but also enables each student to explore their personal characteristics in order to advance the collaboration efficacy of the team as a whole. This study asked six experts with entrepreneurial experience in the information industry to work with school teachers in course design as well as teaching collaboration. The course design starts with three talk sessions given by professionals who share with students their thoughts and experiences in entrepreneurial products, team organization, fund raising, and profit calculation. Following that, each student is asked to share their own thoughts on entrepreneurial products and start searching for team members and planning their project. During the course, each team receives six individual advising sessions from the professionals, with topics ranging from product modeling, feasibility, product market estimation, fundraising methods, and profit calculation. The experts also provide each team member with personal trait analysis. Last but not least, the course invites five management-level industry professionals to play the role of venture capital investor and evaluate each team’s product modeling based on their presentation. This study reviews the grades given by the experts as well as the evaluations given by the three industry managers to assess whether the entrepreneurial education course’s student entrepreneur teams satisfy the industry’s expectations. (shrink)

As individual subjects, creativity and personality have been the focus of much research and many publications. This Cambridge Handbook is the first to bring together these two topics and explores how personality and behavior affects creativity. Contributors from around the globe present cutting-edge research about how personality traits and motives make creative behavior more likely. Many aspects of personality and behavior are examined in the chapters, including genius, emotions, psychopathology, entrepreneurship, and multiculturalism, to analyse the impact of these (...) on creativity. The Cambridge Handbook of Creativity and Personality Research will be the definitive resource for researchers, students and academics who study psychology, personality, and creativity. (shrink)

Entrepreneurship is a tool for driving economic and social progress. Especially in Hong Kong, the government has recently taken steps to encourage young people to engage in entrepreneurship. However, Hong Kong youths’ entrepreneurial intentions are still low. The objective of this study is to empirically explore the impacts of personality traits on start-up preparation among Hong Kong youths through the constructs of the theory of planned behavior. Through a multi-channel survey, we finally collected 230 valid respondents aged 18 to 40. (...) In addition, this study used SmartPLS software to conduct confirmatory factor analysis for the measurement model as well as path analysis for the structural model. This study’s results suggested that creativity, risk-taking propensity, need for achievement, and internal locus of control influence TPB models’ components and indirectly influence start-up preparation through TPB models’ components. Also, attitude and perceived behavioral control influence intention, and intention influences preparation. Furthermore, prior entrepreneurial experience and entrepreneurship education positively influence preparation. In conclusion, this study revealed the mediating effects of TPB components between four personality traits and start-up preparation. Finally, this study had theoretical implications by providing the influence of six personality traits on youths’ entrepreneurial intention and preparation through the TPB model and the human capital theory. This study also had practical implications by providing suggestions for the government and higher education institutions. (shrink)

Emotional creativity refers to cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that the COVID-19 epidemic and the restrictions imposed increased the levels of negative emotions, which obstructed adaptation. This research suggests that EC predicts the motivation for innovative adaptive behavior under the restrictions of COVID-19. In the case study of university professors, we show that EC predicts the motivation to creatively capitalize on the imposed online teaching in looking (...) for innovative research and personal development. Methodologically, we rely on the Emotional Creativity Inventory administered to a sample of 463 university professors from the Czech Republic, Slovak Republic, and Russia. The indicators for motivation for innovative performance included motivations to use distant methods of scientific research, to look for partners for conducting scientific research in other cities or abroad, to conduct interdisciplinary research, starting distance learning to enhance qualifications, and the perception that due to online teaching, there is more time for personal development. We employ a set of ordinal regression analyses controlling for age, gender, position, type of science, and country. The results suggest that Emotional Creativity and its three components predict the motivation of university professors to creatively capitalize on the imposed online teaching in looking for innovative research and personal development under the conditions of COVID-19. Furthermore, our results confirmed the gender and age differences in EC. The differences in EC according to position and type of science were not statistically significant. These results compel us to be aware of the importance of the emotional side of creativity to optimize stress-related behavior under the conditions of limited abilities to continue as usual. More space devoted to the manifestation of all the aspects of emotional creativity would improve adaptation to challenging circumstances and even allow one to capitalize on new opportunities. Moreover, we suggest that if personal intrinsic Emotional Creativity is high, the crises, such as the COVID-19 epidemic, may improve adaptation and trigger creative outcomes. (shrink)

Dissociative symptoms have been related to higher rapid eye movement sleep density, a sleep phase during which hyperassociativity may occur. This may enhance artistic creativity during the day. To test this hypothesis, we conducted a creative photo contest to explore the relation between dissociation, sleep, and creativity. During the contest, participants (N = 72) took one photo per day for five consecutive days, based on specific daily themes (consisting of single words) and the instruction to take as creative (...) a photo as possible each day. Furthermore, they completed daily measures of state dissociation and a short sleep diary. The photos and their captions were ranked by two professional photographers and two clinical psychologists based on creativity, originality, bizarreness, and quality. We expected that dissociative people would rank higher in the contest compared with low-dissociative participants, and that the most original photos would be taken on days when the participants scored highest on acute dissociation. We found that acute dissociation predicted a higher ranking on creativity. Poorer sleep quality and fewer hours of sleep predicted more bizarreness in the photos and captions. None of the trait measures could predict creativity. In sum, acute dissociation related to enhanced creativity. These findings contribute to our understanding of dissociative symptomatology. (shrink)

Purpose of the articleThe presented study introduces the psychological factors which influence the creative development of young people in their families, especially from psychological position - acquired of birh of order - point of view. The study presents basic theoretical theses of birth orders´concept, as A. Adler and his followers introduced into psychological literature; it also brings information from empirical researches about the groups of five positions´ birth order: first-born, send-born, middle-born, youngest and parents´only children in relation to their psychological (...) characteristics. The second part is dedicated to issue of birth order in relation to creativity, intelligence and personality traits of 153 adolescents - students of the last year of high school who passed the exams for the artistic - technical study at the Faculty of Architecture with the average age 18.32 years. Methodology/methods The creativity was identified by Urban’s Test of Creative Thinking and Torrance Test of Creative Thinking. The intelligence was identified by the nonverbal Test of General Abilities. The Slovak version of NEO FFI Inventory was used for the measuring of five personality dimensions. The anamnestic data were obtained from our Questionnaire of the Family Constellation. The results were statistically processed by means of ANOVA SPSS program. The inter-group differences based on the birth-order were tested by the one-way ANOVA method as well as two-way analysis by ANOVA method and by T-test. Scientific aim The aim of the study was to find out in what kind of families live the gifted students, what are intersexual differences in creativity, intelligence, personality traits and in what birth order live the gifted adolescents, what are their typical personality traits and also the specifics of their creativity and the level of intelligence. Findings The research results on the sample of 153 adolescents showed that higher performances in the fluency and flexibility of thinking in the Torrance Creativity Test showed the women in comparison to men. The results indicate that the birth order differentiates the groups of gifted adolescents in the personality dimension openness to experience and agreeableness. Highly creative adolescents have ascribed themselves more often characteristics connected with creativity.The findings are comented as to the implications for the role of the creativity in both sexes and for the composition research sample and for research methods too. The other findings dealing with the specifics of creativity will be more broadly discussed in the study. (shrink)

In recent years, the gastronomy industry has increased the demand for rigorous and reliable tools to evaluate culinary creativity; but conceptually, creativity is difficult to define and even more difficult to measure. In this paper, we propose an AI-based method for assessing culinary product creativity by using the renowned high cuisine restaurant elBulli as a case study to understand the proliferation and scale of an entity’s creativity and innovation. To achieve so, we trained a Random Forest (...) Classifier to assess the level of creativity within the restaurant’s recipes. The application of this model to elBulli’s recipes allowed us to answer the following questions: how can creativity in a culinary product be characterized? Is there a single trait that is the key to culinary creativity? Is the creative culinary product a truly original outcome? Our key findings are (1) although ingredients and preparation techniques prove to be suitable attributes to characterize creativity in a recipe, none of them nor an elite subset clearly identifies creative cuisine, (2) new products are not radically novel with respect to previous creations, (3) creativity is more related to new uses and combinations of existing ingredients and techniques rather than to new ingredients or techniques. We believe that our method can find practical applications in supporting and guiding the creation of culinary products, identifying their strengths and weaknesses, and helping restaurants maintain a sustainable competitive advantage. (shrink)

Cumulative technological culture can be defined as the progressive diversification, complexification, and enhancement of technological traits through generations. An outstanding issue is to specify the cognitive bases of this phenomenon. Based on the literature, we identified four potential cognitive factors: namely, theory-of-mind, technical-reasoning, creativity, and fluid-cognitive skills. The goal of the present study was to test which of these factors—or a combination thereof—best predicted the cumulative performance in two experimental, micro-society conditions differing in the nature of the interaction allowed (...) between participants. The task was to build the highest possible tower. Participants were also assessed on the four aforementioned cognitive factors in order to predict cumulative performance and attractiveness. Our findings indicate that technical-reasoning skills are the best predictor of cumulative performance, even if their role may be restricted to the specific technological domain. Theory-of-mind skills may have a facilitator role, particularly in the Communication condition. Creativity can also help in the generation of novel ideas, but it is not sufficient to support innovation. Finally, fluid cognition is not involved in cumulative technological culture. Taken together, these findings suggest that domain-specific knowledge remains critical for explaining cumulative technological culture. (shrink)

Ivancovsky et al. provide a compelling argument for the role of curiosity in creative thinking. We argue that (a) trait-like curiosity is necessary to engage in creative actions and (b) state-like curiosity might be effectively and strategically induced during interventions. Thus, we posit that curiosity works in an agentic and strategic way in strengthening creativity.

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of participation (...) in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

How can we account for the sudden appearance of such dazzling artists and scientists as Mozart, Shakespeare, Darwin, or Einstein? How can we define such genius? What conditions or personality traits seem to produce exceptionally creative people? Is the association between genius and madness really just a myth? These and many other questions are brilliantly illuminated in The Origins of Genius. Dean Simonton convincingly argues that creativity can best be understood as a Darwinian process of variation and selection. The (...) artist or scientist generates a wealth of ideas, and then subjects these ideas to aesthetic or scientific judgment, selecting only those that have the best chance to survive and reproduce. Indeed, the true test of genius is the ability to bequeath an impressive and influential body of work to future generations. Simonton draws on the latest research into creativity and explores such topics as the personality type of the genius, whether genius is genetic or produced by environment and education, the links between genius and mental illness, the high incidence of childhood trauma, especially loss of a parent, amongst Nobel Prize winners, the importance of unconscious incubation in creative problem-solving, and much more. Simonton substantiates his theory by examining and quoting from the work of such eminent figures as Henri Poincare, W. H. Auden, Albert Einstein, Marie Curie, Charles Darwin, Niels Bohr, and many others. For anyone intrigued by the spectacular feats of the human mind, The Origins of Genius offers a revolutionary new way of understanding the very nature of creativity. (shrink)

This article focuses on the distinction between psychosocial types and conceptual personae advanced by Gilles Deleuze and Félix Guattari in What is Philosophy? The conceptual persona is the tool that a philosopher invents in order to create new concepts with which to bring forth new events. Although they present it as one of the three elements of philosophy, its nature and function and, above all, its conjunctions with psychosocial types have been overlooked by scholars. What is Philosophy? contains a list (...) of character traits of which each conceptual persona is composed. The central argument of this article is that this list can well be regarded as a table of categories that enable the exercise and experience of philosophy’s creative thinking. Since the character traits of a conceptual persona match the characteristics of the given psychosocial types, it is necessary to keep inventing new conceptual personae always starting from the historical presuppositions. The philosopher requires the conceptual persona to transfer his or her movements of thought to philosophy’s plane of immanence and thereby transform them in such a manner that philosophy can unfold as a creative power. It emerges as the subject of creative thinking at the same time as the concepts that subject creates, with which it coincides in the moment of creation. With the conceptual persona in What is Philosophy?, Deleuze and Guattari determine the one element of philosophy that makes the transcendental empiricism a method of creation that appears as a precise operation with all its convincing and transparent results. (shrink)

According to a multivariate approach on creativity, self-experimentation may well provide many of the conditions that allow for new ideas to occur. This research method is valuable in particular because the researcher's high level of participation in the search for a solution fosters the involvement of the necessary cognitive skills and conative traits.

Keller & Miller (K&M) make a persuasive case for the role of mutation-selection balance in the persistence of such disorders as schizophrenia. However, there is evidence relating illness liability to creativity, which seems to imply balancing selection. I argue for a hybrid position, where schizotypal personality traits can have fitness advantages or disadvantages, with mutational load and neurodevelopmental conditions determining which outcome is observed. (Published Online November 9 2006).

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 36-57 [Access article in PDF] "Being With": The Resonant Legacy of Childhood's Creative Aesthetic Lori A. Custodero Teachers College, Columbia University Introduction...enrichment of the present for its own sake is the just heritage of childhood....1In this paper, the qualities of artistic pursuit exemplified in the musical play of children and the compositional processes of adults provide a context for exploring how "being (...) with" influences teaching and learning. Specifically I propose that "being with" music generates a sense of the aesthetic as we both transform musical materials — timbres, pitches, rhythms, phrases, harmonies — and are transformed by our experiences with them, and that "being with" others as we partake in musical activity often broadens and deepens that experience. In many ways, this is an exploration into why childhood matters, how it functions as a mirror for our adult lives as we experience and revel in the seemingly miraculous moments of aesthetic insight, where the familiar is welcomed with fresh perception and the addition of novelty is greeted as the solution to a previously unfathomable problem. It is also about why children matter, as our responses to their ways of being connect and transform us as adults. In this piece, recorded observations of children's musicality are juxtaposed with first-person accounts of adults' creative processes, revealing contributions to our understanding of artistry-in-action as it is manifested in both the musical and the pedagogical. The Aesthetic in Childhood and Adulthood To be "in the moment" is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital, aware of surprise relationships between seemingly disparate phenomena, and enveloped by sensory messages of color, sound, and movement meeting personal criteria for beauty. Such experiences exemplify features of artistry, an approach defined by openness to possibility and orientation toward discovery, where cues emanating from involvement in activity are clearly interpreted and utilized, and reflection is an ongoing process informing action. Characterized by a sense of wonder and ability to imagine and invent, the creative worlds of young children have provided a source of artistic genesis cited by composers, performers, psychologists, and educators.2Edith Cobb's thoughtful, groundbreaking account of the relationship between childhood and artistry, The Ecology of Imagination in Childhood, was introduced by Margaret Mead, who highlighted the work's thesis: "that in the imaginative experiences of childhood could be found the essential kernels of the highest forms of human thought."3 The legacy of childhood is universal to our existence; in acknowledging its contributions to ontological and cultural artistry, we can both connect personal histories across the [End Page 36] lifespan and identify characteristic trends across a spectrum of aesthetic rendering.4One trait common to both the child and the creative adult is a focused attentiveness to perceived affordances, that is, materials and human resources accessible in the environment. Acting upon and with these resources,children and artists become aesthetic agents as sensitivity to both experience and milieu combine to produce relevant and innovative outcomes.5 These two interactive dimensions have been described in interviews with composers I have interviewed as "being with the moment" and "being with yourself and at the same time with another" and are operating in the musical play of children, as noted in this description recorded by a mother/student: On Thanksgiving Day, we had a family gathering of sixteen people, five of whom are under the age of eight years. Three-year-old Louise is thrilled to be with her female cousins, who all dress up in ballet-type frilly costumes in order to put on a "show" for the family. Cousin Lily, now eight years old, assumes the role of pianist, while Louise, and five-year-old cousin Amy creatively dance to Lily's improvised accompaniment. Their movements are directly related to Lily's playing, in her fluidity and well as "jumps!" Here, family members serve as catalysts for creative activity — costumes and musical instruments in the environment... (shrink)

In addition to what we know as benevolent creativity, which involves originality and usefulness, creativity also includes malevolent creativity, which involves the application of creative ideas to intentionally harm others. This study aimed to explore the environmental and individual predictors of malevolent creativity. We investigated the relationship among childhood neglect, Dark Triad personality traits and malevolent creativity and examined the mediating role of Dark Triad personality. A large sample of Chinese undergraduate students completed the childhood (...) neglect scale, the 12-item Dirty Dozen and the Malevolent Creativity Behavior Scale. Structural equation modeling demonstrated that childhood neglect was positively related to individual malevolent creativity, and the Dark Triad partially mediated this relationship. Additionally, gender differences were found, such that childhood neglect had a stronger effect on malevolent creativity through the Dark Triad among males than females. The results were discussed from the perspectives of life history theory and social information processing theory. (shrink)

General Technology Course in senior high school focuses on skill training and the connection and comprehensive application of interdisciplinary knowledge, and it is a compulsory course for cultivating students' creative potential. However, GTC in domestic senior high school has low teaching efficiency and fails to cultivate students' creativity well. Fortunately, after years of theoretical and practical research in China, the Maker Education, which focuses on cultivating students' innovative ability, has produced well-recognized applied research results. For this reason, this paper (...) integrates the theories of ME into GTC. Combined the characteristics of ME and GTC, and followed the process of creation and the law of the expression of personality traits, we build a model of GTC based on ME to improve students' creativity effectively. In order to improve and optimize the designed teaching model, this study carried out three rounds of Action Research, designed the practical activities of GTC in senior high school, and revised the teaching model through action, observation and reflection continuously. Finally, this paper designed an experimental group and a control group. The experimental group adopts the recommended General Technology teaching model, and the control group adopts the traditional teaching model. Students were asked tested to take pre-test and post-test, and SPSS was used for analysis of ANCOVA and T-test. After analysis, the following experimental results were obtained: the teaching model proposed in this paper can improve students' creativity significantly and effectively; the adventurous, curiosity, imagination, challenge of students also have significant positive improvement. (shrink)

Evidence suggests divergent thinking is the cognitive basis of creative thoughts. Neuroimaging literature using resting-state functional connectivity has revealed network reorganizations during divergent thinking. Recent studies have revealed the changes of network organizations when performing creativity tasks, but such brain reconfigurations may be prolonged after task and be modulated by the trait of creativity. To investigate the dynamic reconfiguration, 40 young participants were recruited to perform consecutive Alternative Uses Tasks for divergent thinking and two resting-state scans were (...) used for mapping the brain reorganizations after AUT. We split participants into high- and low-creative groups based on creative achievement questionnaire and targeted on reconfigurations of the two brain networks: default-mode network and the network seeded at the left inferior frontal gyrus because the between-group difference of AUT-induced brain activation located at the left IFG. The changes of post-AUT RSFCs indicated the prolonged effect of divergent thinking. More specifically, the alterations of RSFCIFG−AG and RSFCIFG−IPL in the high-creative group had positive relationship with their AUT performances, but not found in the low-creative group. Furthermore, the RSFC changes of DMN did not present significant relationships with AUT performances. The findings not only confirmed the possibility of brain dynamic reconfiguration following divergent thinking, but also suggested the distinct IFGN reconfiguration between individuals with different creativity levels. (shrink)

The core objective of this article is to advocate for the cultivation of philosophical thinking, a pivotal element that fosters a profound understanding of the evolutionary trajectory of the information society and the human role within this paradigm. An examination of the unique attributes of the information-communicative educational space, coupled with the tenets of post-classical knowledge, underscores the imperative for nurturing human capabilities and personality traits essential for efficacious self-identification within the information society. The anthropological nature of philosophy focuses on (...) understanding that rational, abstract-universal, theoretical thinking is fundamentally value-laden, not free from human interests. These interests determine the directions of scientific research and, if necessary, limit freedom of choice. The philosophical perception of communication, seen as a wellspring of new knowledge generation aimed at pragmatic problem-solving and emerging from human solidarity, promotes the cultivation of creativity, an intrinsic quality of the persona. A favorable factor for the successful development of dialogical thinking is the transformation of the previously dominant written culture into an oral one, where natural spoken language plays an increasingly important role. The exigency for a high degree of personal individualization and thought individualization, prerequisites for successful self-identification, calls for the fostering of stereoscopic and pluralistic thinking. Such thinking, inherent to the philosophical discourse, inherently possesses an authorial essence and proffers diverse interpretative responses to identical queries, thereby catalyzing the development of contextual thinking adept at unraveling the meaning of events in situational contexts. Globalization, accompanied by an increase in the world’s diversity, contributes to the development of global thinking – the ability to solve local problems considering global patterns. As a counterbalance to informational pluralism, the visual turn emerges, epitomized by the capacity to encapsulate voluminous data into intricate montaged images and to adeptly interpret such constructs. This paradigm shift necessitates the enhancement of visual thinking, which, as contemporary philosophy posits, is oriented toward assimilating social experience, laying the groundwork for self-identification. The presented arguments substantiate the conviction that the development of philosophical thinking in the educational process is not an auxiliary factor, but an imperative of the modern information society. (shrink)

Traditional ways of characterizing humans and persons are vague and simplistic. For example, persons are often defined as having free will and responsibility – but what actual powers underlie these vague metaphysical abstractions? Traditional answers like "rationality" and "creativity" are still vague, and also simplistic. Similar traits appear as defining traits of humans, yet we’re far too complex to be distinguished from other species in such simple and tight ways. But there may be a looser hallmark of humans that (...) just serves to best distinguish our complex package of traits from those of other species. It will be argued that while humans and persons differ, the underlying hallmark of both is their innately powerful, symbolically organized minds and societies. This seems to capture what is most distinctive about humans without the vagueness or oversimplification above. It explains how creativity, rationality, etc. arose in stages from precursors, and what is distinctive about their human forms. It also helps clarify what underlies the free will and responsibility of persons. It might also say interesting things about persons that may have evolved elsewhere, for example, that we have similar mentalities and evolutions, and that we are capable of mutual understanding. Finally, it might help weigh our evolutionary importance. (shrink)

How do creative people think? Do great works of the imagination originate in words or in images? Is there a rational explanation for the sudden appearance of geniuses like Mozart or Einstein? Such questions have fascinated people for centuries; only in recent years, however, has cognitive psychology been able to provide some clues to the mysterious process of creativity. In this revised edition of Notebooks of the Mind, Vera John-Steiner combines imaginative insight with scientific precision to produce a startling (...) account of the human mind working at its highest potential. To approach her subject John-Steiner goes directly to the source, assembling the thoughts of "experienced thinkers"--artists, philosophers, writers, and scientists able to reflect on their own imaginative patterns. More than fifty interviews, along with excerpts from the diaries, letters, and autobiographies of such gifted giants as Leo Tolstoy, Marie Curie, and Diego Rivera, among others, provide illuminating insights into creative activity. We read, for example, of Darwin's preoccupation with the image of nature as a branched tree while working on his concept of evolution. Mozart testifies to the vital influence on his mature art of the wondrous "bag of memories" he retained from childhood. Anais Nin describes her sense of words as oppressive, explaining how imagistic free association freed her as a writer. Adding these personal accounts to laboratory studies of thought process, John-Steiner takes a refreshingly holistic approach to the question of creativity. What emerges is an intriguing demonstration of how specific socio-cultural circumstances interact with certain personality traits to encourage the creative mind. Among the topics examined here are the importance of childhood mentor figures; the lengthy apprenticeship of the talented person; and the development of self- expression through highly individualistic languages, whether in images, movement or inner speech. Now, with a new introduction, this award-winning book provides an uniquely broad-based study of the origins, development and fruits of human inspiration. (shrink)

Because human cognition is creative and socially situated, knowledge accumulates, diffuses, and gets applied in new contexts, generating cultural analogs of phenomena observed in population genetics such as adaptation and drift. It is therefore commonly thought that elements of culture evolve through natural selection. However, natural selection was proposed to explain how change accumulates despite lack of inheritance of acquired traits, as occurs with template-mediated replication. It cannot accommodate a process with significant retention of acquired or horizontally (e.g. socially) transmitted (...) traits. Moreover, elements of culture cannot be treated as discrete lineages because they constantly interact and influence one another. It is proposed that what evolves through culture is the mind; ideas and artifacts are merely reflections of its current evolved state. Interacting minds transform (in part) through through a non-Darwinian autopoietic process similar to that by which early life evolved, involving not survival of the fittest but actualization of their potential. (shrink)

Insight problem solving is thought to underpin creative thought as it incorporates both divergent (generating multiple ideas and solutions) and convergent (arriving at the optimal solution) thinking approaches. The current literature on schizotypy and creativity is mixed and requires clarification. An alternate approach was employed by designing an exploratory web-based study using only correlates of schizotypal traits (paranoia, dissociation, cognitive failures, fantasy proneness, and unusual sleep experiences) and examining which (if any) predicted optimal performance on an insight problem-solving task. (...) One hundred and twenty-one participants were recruited online from the general population and completed the number reduction task. The discovery of the hidden rule (HR) was used as a measure of insight. Multivariate logistic regression analyses highlighted persecutory ideation to best predict the discovery of the HR (OR = 1.05; 95% CI 1.01–1.10, p = 0.017), with a one-point increase in persecutory ideas corresponding to the participant being 5% more likely to discover the HR. This result suggests that persecutory ideation, above other schizotypy correlates, may be involved in insight problem solving. (shrink)