Time-motion studies revolutionized the design and efficiency of repetitive work last century. Would time-idea studies revolutionize the rules of intellectual/creative work this century? Collaborating with seven professional dancers, we set out to discover if there were any significant temporal patterns to be found in a timeline coded to show when dancers come up with ideas and when they modify or reject them. On each of 3 days, the dancers were given a choreographic problem to help them generate a novel, high (...) quality contemporary dance phrase. They were videoed as they worked on this task for sessions of 15, 30, and 45 min. At the end of each 15 min interval during each session, we had them perform the phrase they were creating. They recorded and then coded the video of themselves dancing during these sessions by using a coding language we developed with them to identify when ideas are introduced, modified, and rejected. We found that most ideas are created early and that though these early ideas are aggressively pruned early on, many still make it into the final product. The two competing accounts of creativity in design research make predictions for the temporal structure of creativity. Our results support neither account, rather showing a more blended version of the two. The iterative design view, arguably the dominant view, is that good ideas are the product of generating many ideas, choosing one fairly early, committing to it, and iteratively improving it. The “fail fast fail often” view is that good ideas are the product of rapidly generating and discarding ideas and holding back from early commitment to any one in particular. The result of holding back commitment, typically, is not that an idea is taken up later and then incrementally improved at the last minute, as much as that later designs are not completely novel, instead incorporating the best parts of the entire sequence of ideas. In our study, we found no evidence that one account or the other was more predictive for the domain of contemporary dance. The behavior of the dancers that we studied revealed elements of both, calling into question how predictive these theories are. (shrink)

This study is intended to provide in-depth insights into how design thinking and creativity issues are understood and possibly evolve in the course of design discussions in a company context. For that purpose, we use the seminar transcripts of the Design Thinking Research Symposium 12 (DTRS12) dataset “Tech-centred Design Thinking: Perspectives from a Rising Asia,” which are primarily concerned with how Korean companies implement design thinking and what role designers currently play. We employed a novel method of information processing based (...) on constructed dynamic semantic networks to investigate the seminar discussions according to company representatives and company size. We compared the quantitative dynamics in two seminars: the first involved managerial representatives of four companies, and the second involved specialized designers and management of a design center of single company. On the basis of dynamic semantic networks, we quantified the changes in four semantic measures—abstraction, polysemy, information content, and pairwise word similarity—in chronologically reconstructed individual design-thinking processes. Statistical analyses show that design thinking in the seminar with four companies, exhibits significant differences in the dynamics of abstraction, polysemy, and information content, compared to the seminar with the design center of single company. Both the decrease in polysemy and abstraction and the increase in information content in the individual design-thinking processes in the seminar with four companies indicate that design managers are focused on more concrete design issues, with more information and less ambiguous content to the final design product. By contrast, specialized designers manifest more abstract thinking and appear to exhibit a slightly higher level of divergence in their design processes. The results suggest that design thinking and creativity issues are articulated differently depending on designer roles and the company size. (shrink)

Creativity is a relevant yet elusive concept, and consequently there is a large range of methods to assess creativity in many different contexts. Broadly speaking, we can differentiate between creativity measures on the level of the person (such as the Torrance tests), the level of the creative product (consensual assessment), and the level of the creative process. In the recent literature on children's creativity, 80% of the studies employed measures on either the person or the product level (Kupers et al., (...) submitted). However, for parents, teachers, and employers who wish to stimulate creativity, insight in the (often socially embedded) creative process is badly needed. This move from the inter-individual to the intra-individual level of assessment is furthermore in line with research in many other domains in psychology. Although there is some research focusing more on detailed descriptions of creative processes, the studies are usually purely qualitative and therefore highly context-specific, making generalization difficult. In this paper, we present a newly developed coding frame as a systematic, generic, micro-level measure of creativity. What is unique about this coding frame is that it can be applied to observations of creative processes in many different contexts, and for different kinds of creative tasks. The core of the instrument is that it allows us to assess the two core components of creativity - novelty and appropriateness on an ordinal 4-point scale, at each moment during the creative process. The coding frame can be applied in three steps. The first step is to determine the unit of analysis, that is, the level of detail in which the creative process is assessed. The second step and third steps are coding the units on two ordinal scales of novelty and appropriateness, respectively. In order to illustrate the versatility of our instrument, we apply it to two cases of very different creative processes: a musical composition task (open-ended) and a scientific reasoning task (closed- ended). Last, we demonstrate the possibilities for analyzing this type of dense intra-individual measurements of creativity (time series analysis and state space grids) and discuss the future research that is needed to fully validate the instrument. (shrink)

According to Regulatory Focus Theory, two systems determine our strategies to pursue goals – the promotion and the prevention system. Individuals with a dominant promotion system focus on achieving gains, i.e., promoters, and individuals with a dominant prevention system focus on avoiding losses, i.e., preventers. Regulatory Fit Theory suggests that a fit between this focus and the situation causes superior performance and makes individuals feel right. We transfer the fit idea to the interaction of dominant regulatory focus with motivational direction. (...) We investigated these interaction effects on individuals’ performance and their experience within creativity workshops. In Study 1, using multi-level analyses, we found that a promotion focus was associated with fluency and a prevention focus with elaborated ideas. This effect was stronger, when preventers also scored high on avoidance motivation. Further, preventers experienced more autonomy support and were more satisfied when they scored high on avoidance. Promoters high on approach motivation reported more autonomy support and more satisfaction than preventers high on approach motivation. For Study 2, we used an experimental design: After measuring regulatory focus, we manipulated approach vs. avoidance motivation in creativity workshops. Using multi-level analyses, we did not find main or interaction effects on fluency or elaboration but we found interaction effects on participants’ experience of the creativity workshop. Preventers were more satisfied when they received the avoidance condition. Promoters reported less autonomy support, lower satisfaction, and more perceived conflicts within their teams in the avoidance condition. (shrink)

Coronavirus disease 2019 has not only resulted in immeasurable life and property losses worldwide but has also impacted individuals’ development, especially teenagers. After the COVID-19 pandemic, individual rumination as an important cognitive process should be given more attention because of its close associations with physical and mental health. Previous studies have shown that creativity as an antecedent variable can predict people’s mental health or adaptation. However, few studies have focused on the relationship between creativity and individual cognitive rumination after traumatic (...) events, and the mechanism underlying this relationship remains unclear. By using the Runco Ideational Behavior Scale, the Event Related Rumination Inventory, and the Questionnaire of Adolescent Emotional Resilience, the current study explored the relationship between creativity and intrusive rumination among 1488 Chinese teenagers during the COVID-19 pandemic and analyzed the moderating effect of emotional resilience on the relationship. The results showed that creativity, as assessed by the RIBS, was positively related to teenagers’ intrusive rumination, which implied that a higher level of creative performance could predict more intrusive rumination. Moreover, emotional resilience acted as a moderator in the relationship between creativity and intrusive rumination; the correlation was stronger when emotional resilience was low. These findings provide more evidence of the relationship between creativity and mental health and show the effect of this traumatic event on teenagers. (shrink)

The future of work is forcing the world to adjust to a new paradigm of working. New skills will be required to create and adopt new technology and working methods. Additionally, cognitive skills, particularly creative problem-solving, will be highly sought after. The future of work paradigm has threatened many occupations but bolstered others such as engineering. Engineers must keep up to date with the technological and cognitive demands brought on by the future of work. Using an exploratory mixed-methods approach, our (...) study sought to make sense of how engineers understand and use creative problem solving. We found significant associations between engineers’ implicit knowledge of creativity, exemplified creative problem solving, and the perceived value of creativity. We considered that the work environment is a potential facilitator of creative problem-solving. We used an innovative exceptional cases analysis and found that the highest functioning engineers in terms of knowledge, skills, and perceived value of creativity, also reported working in places that facilitate psychosocially safe environments to support creativity. We propose a new theoretical framework for a creative environment by integrating the Four Ps and psychosocial safety climate theory that management could apply to facilitate creative problem solving. Through the acquisition of knowledge to engage in creative problem solving as individuals or a team, a perception of value must be present to enforce the benefit of creativity to the engineering role. The future of work paradigm requires that organisations provide an environment, a psychosocially safe climate, for engineers to grow and hone their sought-after skills that artificial technologies cannot currently replace. (shrink)