According to Mednick’s (1962) theory of individual differences in creativity, creative individuals appear to have a richer and more flexible associative network than less creative individuals. Thus, creative individuals are characterized by “flat” (broader associations) instead of “steep” (few, common associations) associational hierarchies. To study these differences, we implement a novel computational approach to the study of semantic networks, through the analysis of free associations. The core notion of our method is that concepts in the network are related to each (...) other by their association correlations - overlap of similar associative responses (“association clouds”). We began by collecting a large sample of participants who underwent several creativity measurements and used a decision tree approach to divide the sample into low and high creative groups. Next, each group underwent a free association generation paradigm which allowed us to construct and analyze the semantic networks of both groups. Comparison of the semantic memory networks of persons with low creative ability and persons with high creative ability revealed differences between the two networks. The semantic memory network of persons with low creative ability seems to be more rigid, compared to the network of persons with high creative ability, in the sense that it is more spread out and breaks apart into more sub-parts. We discuss how our findings are in accord and extend Mednick’s (1962) theory and the feasibility of using network science paradigms to investigate high level cognition. (shrink)

This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.

This paper reviews and clarifies five misunderstandings about cultural evolution identified by Henrich et al.. First, cultural representations are neither discrete nor continuous; they are distributed across neurons that respond to microfeatures. This enables associations to be made, and cultural change to be generated. Second, ‘replicator dynamics’ do not ensure natural selection. The replicator notion does not capture the distinction between actively interpreted self-assembly code and passively copied self-description, which leads to a fundamental principle of natural selection: inherited information is (...) transmitted, whereas acquired information is not. Third, this principle is violated in culture by the ubiquity of acquired change. Moreover, biased transmission is less important to culture than the creative processes by which novelty is generated. Fourth, there is no objective basis for determining cultural fitness. Fifth, the necessity of randomness is discussed. It is concluded that natural selection inappropriate is an explanatory framework for culture. (shrink)

In the current era, building more innovative teams is key to organizational success, yet there is little consensus on how best to achieve this. Common wisdom suggests that positive reinforcement through shared positive rewards builds social support within teams, and in turn facilitates innovation. Research on basic group processes, cultural rituals, and the evolution of pro-group behavior has, however, revealed that sharing adverse experiences is an alternative path to promoting group bonding. Here, we examined whether sharing an adverse experience not (...) only builds social support within teams, but also in turn enhances creativity within novel teams. Drawing on behavioral observation of an experimental group interaction we find evidence that sharing an adverse (vs. non-adverse) experience leads to increased supportive interactions between team members and this in turn boosts creativity within a novel team. These effects were robust across different indicators of creativity: objective measures of creativity, third party ratings of the creativity of group products, and participants’ own perceptions of group creativity. Our findings offer a new perspective from which to understand how best to boost innovation and creative output within teams. (shrink)

In contemporary dance, experts evaluate creativity in competitions, auditions, and performances, typically through ratings of choreography or improvisation. Audiences also implicitly evaluate choreographic creativity, so dancers’ livelihoods also hinge upon the opinions of non-expert observers. However, some argue that the abstract and often pedestrian nature of contemporary dance confuses non-expert audiences. Therefore, agreement regarding creativity and appreciation amongst experts and non-experts may be low. Finding appropriate methodologies for reliable and real-world creativity evaluation remains the subject of considerable debate within the (...) psychology creativity research field. Although considerably variant in methodological operationalisation, the Consensual Assessment Technique (CAT) asks individuals to use an implicit definition to assess creativity in others’ work. This study aimed to investigate the role of experience and expertise in the evaluation of choreographic creativity, with a secondary aim of testing the feasibility of an online snowballing methodology for large-scale dance-specific research, informed by the methodology of the CAT. We filmed 23 Contemporary Dance students each performing a 3-min peer-choreographed solo and then recruited 850 online evaluators with varying degrees of expertise and experience in dance and creativity. Evaluators viewed at least one randomly selected video and rated creativity, technical ability, appreciation and understanding of the work, each using a seven-point Likert scale. A one-way ANOVA showed a significant difference in creativity ratings across the 23 videos, and creativity correlated significantly with the other variables. We then categorized evaluators on nine aspects of their dance and creative experience and entered the data into a repeated-measures linear mixed model. Two of the fixed effects yielded differences in creativity evaluations: (i) contemporary choreographic experience and (ii) self-reported creative expertise, as did the random effect of the video. The results indicate that personal experience of the choreographic process impacts creativity assessment, above and beyond experience in dance class participation. Implications for creativity assessment within creativity research and practice are discussed. (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)

Although much creativity research has suggested that creativity is influenced by cultural and social factors, these have been minimally explored in the context of mathematics and mathematics learning. This problematically limits who is seen as mathematically creative and who can enter the discipline of mathematics. This paper proposes a framework of creativity that is based in what it means to know or do mathematics and accepts that creativity is something that can be nurtured in all students. Prominent mathematical epistemologies held (...) since the beginning of the twentieth century in the Western mathematics tradition have different implications for promoting creativity in the mathematics classroom, with fallibilist and social constructivist perspectives arguably being most conducive for conceiving of creativity as a type of action for all students. Thus, this paper proposes a framework of creative mathematical action that is based in these epistemologies and explains key aspects of the framework by drawing connections between it and research in the field of creativity. (shrink)