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"Defining Creativity: Don’t We Also Need to Define What Is Not Creative?" by Dean Keith Simonton (2016)
Summary
This academic paper argues that defining creativity adequately requires a simultaneous definition of what is not creative. The author introduces a three-parameter model to assess the potential creativity of an idea: its initial probability, its final utility, and the creator's prior knowledge of that utility. Using these parameters, the paper proposes a multiplicative definition of personal creativity and, crucially, identifies seven distinct ways in which an idea can be uncreative, categorising them by high and low initial probability. By exploring these "failures" of creativity, the author demonstrates the limitations of simpler, two-criterion definitions and emphasises the essential role of considering prior knowledge in a comprehensive understanding of creativity and its absence.
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"Creativity" by J.P. Guilford (1950)
Summary
This document, the 1950 presidential address to the American Psychological Association by J. P. Guilford, highlights the significant neglect of creativity as a research topic within psychology at the time. Guilford argues against the prevailing notion that creativity is simply a facet of intelligence, proposing instead that it comprises a unique constellation of primary mental abilities. His address outlines a research programme based on factor analysis to identify and measure these distinct creative abilities, ultimately aiming to improve their identification and development in individuals.
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"Where do bright ideas occur in our brain? Meta-analytic evidence from neuroimaging studies of domain-specific creativity" by Maddalena Boccia, Laura Piccardi, Liana Palermo, Raffaella Nori and Massimiliano Palmiero
Summary
This research article investigates the brain regions associated with creativity across different cognitive domains. Through a meta-analysis of functional magnetic resonance imaging (fMRI) studies, the authors sought to identify a multi-componential neural system underlying the generation of novel ideas. The study specifically examined brain activity during musical, verbal, and visuo-spatial creativity, revealing both common and distinct neural networks involved in each. Ultimately, the findings suggest that while a widespread network involving frontal, parietal, temporal, and occipital lobes supports creativity in general, specific brain regions are more engaged depending on the type of creative task.
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"Theories of Creativity" by Aaron Kozbelt, Ronald A. Beghetto, and Mark A. Runco
Summary
This chapter from "The Cambridge Handbook of Creativity" serves as an introduction to the diverse landscape of creativity theories. The authors advocate for moderation and pluralism, suggesting that no single perspective fully captures the complexity of creativity and that various theories, with their different assumptions and methods, offer valuable insights. The text then systematically reviews major contemporary theories, organising them into categories such as developmental, psychometric, cognitive, and systems-based approaches. By examining each category, the authors highlight key concepts, underlying assertions, and influential studies, ultimately aiming to provide a comprehensive "big picture" of how creativity has been conceptualised and researched.
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"Managing Your Muse: Exploring Three Levels of Metacognitive Control in Creative Ideation" by Mathias Benedek & Izabela Lebuda
Summary
This academic paper, "Managing Your Muse: Exploring Three Levels of Metacognitive Control in Creative Ideation," published in the Creativity Research Journal, investigates how metacognitive control, our ability to manage our own thinking, influences creative thinking, specifically in idea generation tasks. The authors, Benedek and Lebuda, introduce a framework that distinguishes metacognitive control at three levels: task level (our engagement with the task), performance level (the strategies we employ), and response level (how we select and filter our ideas). Through an online study, they empirically demonstrate that higher metacognitive control at all three levels independently contributes to greater creativity in divergent thinking, suggesting that intentionally managing our cognitive processes is key to unlocking more creative outcomes.
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"Disentangling the Impact of Artistic Creativity on Creative Thinking, Working Memory, Attention, and Intelligence: Evidence for Domain-Specific Relationships with a New Self-Report Questionnaire" by Katrin Lunke and Beat Meier
Summary
This research article introduces the Artistic Creativity Domains Compendium (ACDC), a novel self-report questionnaire designed to assess artistic creativity across distinct areas like visual arts, literature, music, and performing arts. The study's primary goal was to examine the relationships between artistic creativity and various cognitive functions, including creative thinking (both divergent and convergent), working memory, attention, and intelligence. By employing the ACDC with 270 adults, the researchers investigated whether these relationships were domain-specific, revealing that certain artistic domains showed unique associations with particular cognitive abilities. Ultimately, the paper argues for the ACDC as a valid tool for measuring artistic creativity and highlights the nuanced interplay between different forms of artistic expression and fundamental cognitive processes.
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"Beyond Big and Little: The Four C Model of Creativity" by James C. Kaufman and Ronald A. Beghetto
Summary
This academic paper, "Beyond Big and Little: The Four C Model of Creativity," addresses the common dichotomy in creativity research between eminent "Big-C" creativity and everyday "little-c" creativity. The authors, Kaufman and Beghetto, argue that this binary view is insufficient and propose a more nuanced "Four C Model". This model introduces two additional levels: "mini-c" creativity, which encompasses the personal and novel interpretations inherent in the learning process, and "Pro-c" creativity, representing the developmental stage of professional-level expertise in a creative field, falling short of eminent status. The authors detail these four levels, discuss their implications for understanding and researching creativity across different domains and developmental stages, and suggest how this framework can better address enduring questions within the field.
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"Variable Attention Facilitates Creative Problem Solving" by Oshin Vartanian
Summary
This research paper explores the relationship between attention and creativity, challenging the traditional view that creativity stems from a consistently defocused state of mind. Instead, the author argues, and presents experimental evidence to support, the idea that creative individuals possess a flexible attentional control. This means they can adjust their focus of attention according to the demands of the task, employing a broad focus for ill-defined, ambiguous problems and a narrow focus for well-defined ones. This adaptability in attentional strategy is proposed as a key factor facilitating successful creative problem solving, allowing individuals to effectively navigate the changing nature of complex problems.
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"Working Memory Benefits Creative Insight, Musical Improvisation, and Original Ideation Through Maintained Task-Focused Attention" by Carsten K. W. De Dreu, Bernard A. Nijstad, Matthijs Baas, Inge Wolsink, and Marieke Roskes
Summary
This academic article investigates the relationship between working memory capacity (WMC) and creativity, specifically examining whether having a greater capacity to hold and manipulate information in mind benefits the generation of novel and appropriate ideas. The authors present four studies exploring this link across different creative tasks, including insight problems, musical improvisation, and original ideation. Their findings suggest that WMC positively influences creativity not just in terms of the quantity of ideas produced, but also their originality and novelty. Importantly, the research indicates that this benefit arises because higher WMC enables sustained, focused attention and persistence on the task, rather than simply enhancing cognitive flexibility.
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"Creativity as Flexible Cognitive Control" by Darya L. Zabelina and Michael D. Robinson
Summary
This research article explores the relationship between creativity and cognitive control, arguing that creative individuals excel not in the overall capacity for control, but in their flexibility to modulate it according to the situation. The authors investigated this using the Stroop task, a measure of cognitive control, alongside assessments of creative originality and achievement. Their findings suggest that highly creative people demonstrate greater adjustments in cognitive control from one task to the next, indicating a dynamic interplay between automatic and controlled processing that supports creative thinking and behaviour. Ultimately, the study posits that this flexible cognitive control is a key characteristic differentiating more and less creative individuals.
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"The Creative Process in Graphic Art" by Marion Botella
Summary
This chapter from "The Creative Process: Perspectives from Multiple Domains" delves into the intricacies of artistic creativity, exploring it through multiple lenses. Firstly, it examines the stages of the creative process as described by professional artists, identifying common phases like ideation, documentation, and materialisation. Secondly, it adopts a multivariate approach, analysing cognitive, conative, emotional, and environmental factors influencing artistic creation in both professionals and art students. Finally, the text investigates methods for enhancing artistic creativity through interventions focusing on flexibility and social interaction, highlighting the dynamic and multifaceted nature of creating art.
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"Measuring creative imagery abilities" by Dorota M. Jankowska and Maciej Karwowski
Summary
This academic paper introduces the Test of Creative Imagery Abilities (TCIA), a new tool designed to specifically measure creative visual imagination by assessing three key components: vividness, originality, and transformativeness. The authors, Jankowska and Karwowski, argue that previous research has often blurred the lines between imagination and divergent thinking, leading to inadequate measurement of creative imagery. Through a series of nine studies involving over 1700 participants, the paper provides evidence for the TCIA's validity and reliability, demonstrating its distinctiveness from measures of intelligence and creative thinking, its consistent scoring by different raters, and its stability over time. Ultimately, the research aims to offer a theoretically grounded and psychometrically sound instrument that can better facilitate the study and understanding of creative imagination.
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"Domain-Specificity of Creativity: A Study on the Relationship Between Visual Creativity and Visual Mental Imagery" by Massimiliano Palmiero, Raffaella Nori, Vincenzo Aloisi, Martina Ferrara and Laura Piccardi
Summary
This academic paper, titled "Domain-Specificity of Creativity: A Study on the Relationship Between Visual Creativity and Visual Mental Imagery," investigates how the capacity for visual creativity relates to different aspects of visual mental imagery. The researchers explored this connection by having university students complete tasks assessing their ability to generate creative objects and artistic drawings, alongside measures of their imagery vividness, cognitive style (visualiser vs. verbaliser), and the cognitive processes underlying imagery (generation, inspection, and transformation). The study's purpose was to determine if specific visual imagery abilities predict performance in visual creativity tasks, ultimately aiming to shed light on whether creativity in the visual domain is linked to specific visual cognitive skills.
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"The Amusement Park Theoretical Model of Creativity: An attempt to bridge the domain-specificity/generality gap" by John Baer, James C. Kaufman
Summary
This academic paper introduces the Amusement Park Theoretical (APT) Model of Creativity, which aims to reconcile domain-specific and domain-general aspects of creativity. The model proposes a hierarchical structure with four levels: Initial Requirements, General Thematic Areas, Domains, and Microdomains, representing increasing levels of domain specificity. It suggests that factors influencing creativity exist on a continuum between domain-specific and domain-general, highlighting the need for researchers to consider these varying degrees. Ultimately, the APT Model serves as a flexible framework to discuss and investigate creativity, accounting for its multifaceted nature across different areas of interest.
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Summary
This research paper delves into the concept of semantic instability (SeIns) in art, exploring how artworks challenge viewers' perceptions and offer multiple interpretations. The authors, Muth, Hesslinger, and Carbon, conducted a classification study using experiential reports from participants viewing various 20th and 21st-century artworks. Through k-means cluster analysis, they identified four key variants of SeIns: integrative blend, multistability, indeterminacy, and contradiction to perceptual habits. The study aims to provide a more systematic understanding of SeIns, moving beyond theoretical frameworks towards empirical classification and revealing how art manipulates our expectations and cognitive processes.
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"Creativity: A Historical Perspective" by Vlad P. Glăveanu and James C. Kaufman
Summary
This text offers a historical perspective on creativity, arguing that its contemporary understanding as universal and vital is a relatively modern phenomenon. It explores how the concept of creativity has evolved over time, from being associated with divine power to its current perception as an individual trait. The authors highlight the shifting views of creativity through different eras, including prehistory, antiquity, the Middle Ages, the Renaissance, the Enlightenment, and the modern age. They identify and discuss three key dichotomies in creativity research: individual vs. social, novelty vs. value, and ideas vs. action, revealing the historical roots and ongoing debates surrounding each. Ultimately, the text advocates for a deeper understanding of the history of creativity to better inform present-day research and future directions in the field, and to be aware of any Western bias associated with its use and practice.
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"The benefits of “sleeping on things”: Unconscious thought leads to automatic weighting" by Maarten W. Bos, Ap Dijksterhuis, Rick B. van Baaren
Summary
This Journal of Consumer Psychology article investigates the idea that unconscious thought can improve decision-making by facilitating an automatic weighting process. Through a series of experiments where participants chose between cars based on varying attributes, the authors, Bos, Dijksterhuis, and van Baaren, demonstrate that allowing time for unconscious processing leads to better weighting of important versus unimportant attributes. They propose that this unconscious weighting explains why "sleeping on things" can lead to more satisfactory choices, suggesting our brains actively differentiate vital from irrelevant aspects when given a period of rest before making a final judgement. The study provides empirical support for the notion that unconscious thought enhances decision quality, challenging alternative explanations and highlighting the benefits of allowing time for deliberation.
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"Controlling the Flow of Distracting Information in Working Memory" by Nicole Hakim, Tobias Feldmann-Wüstefeld, Edward Awh, and Edward K. Vogel
Summary
This research article, "Controlling the Flow of Distracting Information in Working Memory," investigates how our brains manage distractions while trying to remember things. It posits that attentional capture, the process by which distractions grab our focus, isn't a single event but involves at least two distinct sub-processes: spatial capture (where our attention shifts to the location of the distraction) and item-based capture (where we form a mental representation of the distracting item). Through EEG experiments, the authors demonstrate that while spatial attention is drawn to both relevant and irrelevant distractions, only task-relevant distractions are actively encoded into working memory, suggesting a level of voluntary control over what enters our conscious awareness. The study refines our understanding of attention and working memory by showing that we can suppress distracting information from fully entering our working memory, even when our spatial attention is initially captured.
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"Creative Cognition and Brain Network Dynamics" by Roger E. Beaty, Mathias Benedek, Paul J. Silvia, and Daniel L. Schacter
Summary
This paper explores the neural basis of creative cognition, arguing that it arises from the dynamic interplay between the default mode network (associated with self-generated thought) and the executive control network (linked to goal-directed cognition). It highlights that creative thinking involves a cooperation between these two networks, which are typically antagonistic, allowing for both spontaneous idea generation and focused evaluation. The authors propose that goal-directed creative tasks require a greater degree of interaction between these networks, enabling individuals to effectively generate and refine novel and useful ideas. Ultimately, the paper seeks to provide an integrative framework for understanding how brain network dynamics support complex cognitive processes in creativity and artistic performance, considering both domain-general and domain-specific creative thought.
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"Recent Trends in the Psychological Study of Aesthetics, Creativity, and the Arts" by Colin Martindale
Summary
This article, "Recent Trends in the Psychological Study of Aesthetics, Creativity, and the Arts", offers a historical overview of the field of psychological aesthetics and creativity research. Martindale traces the shifting boundaries of psychology, highlighting the movements from grand theories to behaviourism, and then to cognitive psychology, evolutionary psychology and neuroscience. The purpose is to understand the trends and developments in the psychological study of aesthetics over the past several decades, examining how the discipline has evolved (particularly in empirical studies) and what key approaches have emerged (such as neuroaesthetics and the study of creativity). It reflects on the rise and fall of behaviourism, the cognitive revolution, and the recent emphasis on evolutionary and neurological perspectives to understand beauty and creativity.
- Visa fler
