Individuals engage in moral cleansing, a compensatory process to reaffirm one's moral identity, when one's moral self-concept is threatened. However, too much moral cleansing can license individuals to engage in future unethical acts. This study examined the effects of incentives and consequences of one's actions on cheating behavior and moral cleansing. Results found that incentives and consequences interacted such that unethical thoughts were especially threatening, resulting in more moral cleansing, when large incentives to cheat were present and cheating explicitly harmed (...) others. Implications are discussed in terms of ethics training, using incentives as motivators, and the depersonalized norms of science. (shrink)

The dissertation criticizes two analogical applications of Darwinism to the spheres of mind and culture: the Darwinian approach to creativity and memetics. These theories rely on three basic analogies: the ontological analogy states that the basic ontological units of culture are so-called memes, which are replicators like genes; the origination analogy states that novelty in human creativity emerges in a "blind" Darwinian manner; and the explanatory units of selection analogy states that memes are "egoistic" and that they can spread independently (...) of our mind. The detailed philosophical analysis offered in the dissertation shows that these three analogies rely on either wrong or trivial statements: they provide either wrong or no new descriptions or explanations of the phenomena at hand. In Chapter One, I introduce the diverse ways, in which contemporary Darwinism is used today outside of evolutionary biology. Chapter Two explains what it means to claim that something evolves in a Darwinian manner. Chapter Three to Five address each of the three analogies separately. Darwinism applied to culture and mind, at least in the way discussed in this study, is not a dangerous idea. It leads either to wrong claims or to a re-telling in Darwinian terms of what we have already known. (shrink)

This study aimed to investigate whether a range of tasks that have been generally classed as requiring insight form an empirically separable group of tasks distinct from tasks generally classed as non-insight. In this study, 24 insight tasks, 10 non-insight tasks, and tests of individual differences in cognitive abilities and working memory were administered to 60 participants. Cluster analysis of the problem-solving tasks indicated that the presumed insight problems did tend to cluster with other presumed insight problems, and similarly the (...) presumed non-insight problems tended to cluster with other presumed non-insight tasks. Performance on presumed insight problems was particularly linked to measures of ideational flexibility with a different pattern of results for the non-insight tasks. Spatial insight problems were linked to spatial flexibility and verbal insight tasks were linked to vocabulary scores. The results are discussed in relation to recent developments of dual process theories of thinking. (shrink)

We outline the rationale and preliminary results of using the State Context Property (SCOP) formalism, originally developed as a generalization of quantum mechanics, to describe the contextual manner in which concepts are evoked, used, and combined to generate meaning. The quantum formalism was developed to cope with problems arising in the description of (1) the measurement process, and (2) the generation of new states with new properties when particles become entangled. Similar problems arising with concepts motivated the formal treatment introduced (...) here. Concepts are viewed not as fixed representations, but entities existing in states of potentiality that require interaction with a context---a stimulus or another concept---to `collapse' to observable form as an exemplar, prototype, or other (possibly imaginary) instance. The stimulus situation plays the role of the measurement in physics, acting as context that induces a change of the cognitive state from superposition state to collapsed state. The collapsed state is more likely to consist of a conjunction of concepts for associative than analytic thought because more stimulus or concept properties take part in the collapse. We provide two contextual measures of conceptual distance---one using collapse probabilities and the other weighted properties---and show how they can be applied to conjunctions using the pet fish problem. (shrink)

Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is misguided: we can (...) maintain unconscious incubated cognition as (sometimes) part of the creative process and we can explain it in scientifically responsible ways. This paper, focusing on the effects of attention on the functional networking of the brain, attempts just such an explanation. It also serves to assuage the naturalist's scepticism about other features of creative cognition. The broad upshot, one would hope, is that philosophers of mind and cognitive scientists return some attention to the long neglected topic of creativity. (shrink)

This essay focuses on theories of creativity from six historical figures, while noting comparisons to several others. In Ancient Greece: (i) Plato advances the thesis that the poet is a passive vessel inspired by a muse. (ii) Aristotle replies with the antithesis that the poet creates through skilled activity. (iii) Longinus provides the synthesis. Plato is right that poets are passively inspired with original ideas – though the source is natural genius instead of some muse. But Aristotle is also right (...) that the poet must actively employ skill. In early modern Europe: (iv) Margaret Cavendish argues that through creativity women can enjoy some freedom and happiness despite oppression. (v) Alexander Gerard and Immanuel Kant both inherit the Longinian synthesis. Gerard says we form original ideas through remote associations. (vi) Kant notices that although the genius must be passive in the origination of ideas, she must also be active in the very same process, because she merits acclaim for her originality. Kant designs his theory of genius to resolve this Paradox of Creative Agency. (shrink)

During the idea generation phase of the design process, designers often search for inspirations in external sources of information, such as photographs, written descriptions and physical examples. These sources have potential to enhance creative performance. However, they sometimes become too attached to particular ideas of external precedents or various examples. It refers to fixation which is identified as inadequate adoption of features from existing examples. Influence of the existing examples on creativity and fixation, specifically textual examples, have been discussed in (...) this research. -/- For the nature of design, researchers highlighted the restructuring process of design problem by new sources because the capabilities and boundaries of design problems are not defined very well. Further, the design problem is not knowable at any specific point. Design knowledge identifies itself by its ambiguity. Many models have been developed for design process. The various numbers of divided phases of the models can be seen as having two main areas: (1) idea generation phase (or “ideation”); (2) later phase for details. Idea generation plays an important role in the design process. It is the area of new and creative configurations on design. -/- Creativity is an integral part of the design process. Designers purpose to achieve original ideas to demonstrate their ability and unique designs. External stimuli or inspirational inputs play important roles to increase creativity. They can support moments of stimulation. Associations between information from memory and external stimuli can contribute to the creation of new meanings. Designers are widely influenced by their surroundings in daily lives. However, each stimulus may not be the part of a more creative result Even if designers want to utilize stimulus as an inspirational source, somehow it may fixate their mind to its surface features and they may lose potential creative contributions of the source. It is called fixation. There is much research that shows significant evidence of conformity effects across the design problems. -/- The given examples to designers may cause higher-level fixation and lower-level creativity or vice versa. Fixation may occur when example solutions are introduced, on the other hand, the designers may create more original ideas as well. There is a need for research to find ways to avoid fixation traps or reduce their adverse impact. Thus, this research focuses on variables of the given example. -/- The following claims show some research areas remained unclear: (1) Some researchers investigated textual examples as - one of the modalities of representation - but did not focus on forms of textual examples. (2) Much research has been conducted with examples which are selected by the researcher. Nevertheless, designers can also choose or produce their own stimuli. There is not much research on this possibility. In this context, my research focuses on the following two variables through two studies (Study 1 and 2): (1) forms of textual examples; (2) self-construction of textual examples. First, most of the studies in the literature have focused on visual presentation and there is not enough research on the content and form of the text. The study of textual examples has still not been awarded enough attention especially as various forms of text. Some forms of text are as follows: keyword, paragraph, sentence, poem. These observations lead me to the following research question: Which forms of textual example increase creativity and reduce fixation more? (Study 1). -/- Second, most of the studies regarding textual examples have used prose or keywords. The poems have been ignored. However, poems imply more meaning with fewer words. The structure of the poems enables more creative narratives than structure of prose. Because unusual organization of words stimulates the readers and draws their attention. This activates the creative performance of the reader. The surrealist poem is the extreme form of this activation. It is random assemblies with headlines and sentences which is cut from newspapers. Thus, novel meaning networks are formed. The method of creating a surrealist poem offers a new way of getting inspiration. It is termed as self-construction practice by this research. Through this method, designers create their own example from the given one. Reconstruction of the text may increase the creative process and prevent fixations from the given text. This suggestion led me to the following research question: If the designers write their own poem instead of a given poem (as a self-construction practice), can they internalize the textual example? In addition, does it produce more creative and less fixated designs? (Study 2). Two experimental studies were planned to partially answer the research questions, in which novice students of architecture were asked to solve two different design problems, under different conditions. All of the experimental sessions were conducted in a design education studio. The participants produced sketches and added a written explanation relating to their designs. Fluency, flexibility and repetition of key attributes were calculated by the researcher. -/- Originality, practicality, understanding of the task and quality were ranked by judges. Study 1 shows us tendencies of using various textual forms. Distinctions of keywords and of poems have appeared among them. This emphasizes the role of keyword and poem in the design process as inspirational sources and provides many tips for their potential use. The keyword also leads to a high degree of fixation. However, a low degree of fixation is observed when poems are presented as inspirational examples. -/- In Study 2, the self-constructed poem seems to support develop more successful design ideas from many perspectives. In the context of the surrealist poem, writing and reading the surrealist poem trigger the designers’ imagination. At first, the words and lines of poems seem unrelated to each other and designers try to relate them and solve the puzzle of meaning. Hence, novel meaning networks are formed. It indicates that surrealist poems are able to activate the creative performance of the designers. Writing their own surrealist poems ,as a self-construction practice, motivated designers to begin to produce by having fun. Motivated designers have stimulated themselves to produce creative ideas. In other words, the self-construction process may be added to the design process models in the earlier part of the idea generation phase which is called as pre-design and warm-up phase. This earlier phase makes designers highly motivated and they internalized the given examples. -/- Following the conclusions, several implications and recommendations for the design process and education are discussed. (shrink)

Building on findings that self-uncertainty motivates attempts to restore certainty about the self, particularly in ways that highlight one’s distinctiveness from others, we show that self-uncertainty, relative to uncertainty in general, increases creative generation among individualists. In Studies 1 to 3, high (but not low) individualists performed better on a creative generation task after being primed with self-uncertainty as opposed to general uncertainty. In Study 4, this effect emerged only among those who were told that the task measured creative as (...) opposed to analytical thinking, suggesting that the positive effects of self-uncertainty on performance are specific to tasks that bolster perceptions of uniqueness. In Study 5, self-uncertain individualists experienced a restoration of self-clarity after being induced to think about themselves as more (vs. less) creative. Implications for compensatory responses to self-uncertainty and factors that influence creativity are discussed. (shrink)

In the present research, the authors hypothesized that additive counterfactual thinking mind-sets, activated by adding new antecedent elements to reconstruct reality, promote an expansive processing style that broadens conceptual attention and facilitates performance on creative generation tasks, whereas subtractive counterfactual thinking mind-sets, activated by removing antecedent elements to reconstruct reality, promote a relational processing style that enhances tendencies to consider relationships and associations and facilitates performance on analytical problem-solving tasks. A reanalysis of a published data set suggested that the counterfactual (...) mind-set primes previously used in the literature tend to evoke subtractive counterfactuals. Studies 1 and 2 then demonstrated that subtractive counterfactual mind-sets enhanced performance on analytical problem-solving tasks relative to additive counterfactual mind-sets, whereas Studies 3 and 4 found that additive counterfactual mind-sets enhanced performance on creative generation tasks relative to subtractive counterfactual mind-sets. (shrink)

Third language learners have great potential in developing creativity; however, the factors affecting L3 learners’ creativity have received little attention. This study investigated the relationships between proactive personality, three different thinking patterns, and creativity among L3 learners. The participants were 220 Chinese students who attended an obligatory L3 course in college. The results showed that proactive personality, growth mindset, golden mean thinking, and creativity had significant intercorrelations. Moreover, the role of growth mindset and golden mean thinking as mediators of the (...) proactive personality and creativity relation was supported, and the mediating effect of growth mindset was larger than that of golden mean thinking. However, the fixed mindset did not show a significant indirect effect on the path from proactive personality to creativity. This is the first research to treat growth mindset, fixed mindset, and golden mean thinking as mediating variables on the path from proactive personality to creativity, particularly demonstrating that golden mean thinking, which is specific to Asian students and located midway between a growth mindset and a fixed mindset, can cultivate creativity. Some suggestions for fostering creativity in L3 students were also included in this study. (shrink)

Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...) on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)

People are often inaccurate in their predictions of performance on a variety of cognitive tasks. We tested whether receptivity to bullshit – the tendency to perceive meaningless statements as profound – would relate to the accuracy of metacognitive judgments on several problem-solving tasks. Individuals who were highly receptive to bullshit were less accurate in their predictions of performance on creative problem-solving tasks, but not on verbal analogy or recall tasks. Further, individuals with high BS receptivity were less able to discriminate (...) between solvable and unsolvable problems when making metacognitive judgments. These findings support the possibility that the tendency to perceive semantic connections where none exist, as indicated by high bullshit receptivity, may lead to inaccurate predictions of performance on tasks that require noticing and utilizing distant semantic connections. (shrink)

A primary aim of mind-wandering research has been to understand its influence on task performance. While this research has typically highlighted the costs of mind wandering, a handful of studies have suggested that mind wandering may be beneficial in certain situations. Perhaps the most-touted benefit is that mind wandering during a creative-incubation interval facilitates creative thinking. This finding has played a critical role in the development of accounts of the adaptive value of mind wandering and its functional role, as well (...) as potential mechanisms of mind wandering. Thus, a demonstration of the replicability of this important finding is warranted. Here, we attempted to conceptually replicate results of a highly cited laboratory-based experiment supporting this finding. However, across two studies (N = 443), we found no evidence for the claim that mind wandering during a creative-incubation interval facilitates a form of creativity associated with divergent thinking. We suggest that our failed conceptual replication stems from an inadequate characterization of mind wandering (task-unrelated thought), and that there are good reasons to think that task-unrelated thought is unlikely to be causally related to creativity. Our results cast doubt on the claim that task-unrelated thought during an incubation interval enhances divergent creativity while also offering some prescriptions for how future research might further elucidate the cognitive benefits of mind wandering. (shrink)

The objective of our study is to explore scientific creativity with a focus on intellectual (thinking) skills in the cognitive aspect by analyzing scientific theories, which are basically the creativity of historical great scientists, Galileo, Newton, Einstein While our study laid stress on the cognitive domain, exploration of the creativity of great scientists is also connected with affective characteristics (motives, task commitment, etc.) and their environmental factors (incubation period). Great scientists of the science history were aware of the discrepancy issue (...) among different fields of study and long searched for solutions, which they held in their minds. As a result, they created a certain hypothesis using the abstraction strategy in which they leave only the considerations suitable for the world view of the time. Then, they conducted a thought experiment that justified it. The reason why it was difficult for general people to understand was that there was a domain transition beyond materials obtained in the abstraction process. Furthermore, they all had strong motives for the future as well as task commitment. Knowledge is a product of natural selection, and the fusion of knowledge that does not presuppose the unity of knowledge is meaningless. (shrink)

Research has independently highlighted the roles of semantic memory and associative abilities in creative thinking. However, it remains unclear how these two capacities relate to each other, nor ho...

This essay, the last in a series, focuses on the relationship between Nietzsche’s mental illness and his philosophical art. It is predicated upon my original diagnosis of his mental condition as bipolar affective disorder, which began in early adulthood and continued throughout his creative life. The kaleidoscopic mood shifts allowed him to see things from different perspectives and may have imbued his writings with passion rarely encountered in philosophical texts. At times hovering on the verge of psychosis, Nietzsche was able (...) to gain access to unconscious images and the music of language, usually inhibited by the conscious mind. He reached many of his linguistic, psychological and philosophical insights by willing suspension of the rational. None of these, however, could have been communicated had he not tamed the subterranean psychic forces with his impressive discipline and hard work. (shrink)

Paradoxes are an unavoidable part of work life. The unusualness of attempting to simultaneously satisfy contradictory imperatives can result in creative outcomes that simultaneously satisfy both imperatives by inducing search for, and selection of, novel and useful solutions. Likewise, extant research suggests that paradoxes can also result in anxiety, defensiveness, and persistence of old ways of doing things. However, there is little work attempting to describe how paradoxes affect cognition and when it results in higher or lower creativity. To tackle (...) this issue, a theory of paradoxical creativity is developed. Paradoxical creativity is the attempt by an individual to creatively resolve a contradiction by simultaneously achieving competing demands. The theory is implemented into a computational model and a simulation is used to describe how paradoxes affect creative cognitive process and how these processes in turn result in higher or lower degrees of creativity. The results show that creative output is enhanced when paradoxes have a balanced effect on the cognitive processes responsible for an individual’s capacity to search for new information and willingness to tolerate new ideas. Hence, individuals with high baseline levels of creative cognition are more likely to suffer negative creative performance consequences resulting from contradictory demands. For those individuals, contradictory demands may produce more alternatives, which increases uncertainty and time to insight (if insight is ever reached). This suggests that incentives or rewards to resolve contradictions may have the unintentional effect of reducing creative output in some circumstance. (shrink)

In a recent paper, Wigglesworth claims that syntactic criteria of theoretical equivalence are not appropriate for settling questions of equivalence between logical theories, since such criteria judge classical and intuitionistic logic to be equivalent; he concludes that logicians should use semantic criteria instead. However, this is an artefact of the particular syntactic criterion chosen, which is an implausible criterion of theoretical equivalence. Correspondingly, there is nothing to suggest that a more plausible syntactic criterion should not be used to settle questions (...) of equivalence between different logical theories; such a criterion is exhibited and shown to judge classical and intuitionistic logic to be inequivalent. (shrink)

In creative cognition research, the Romantic view about creative cognition is traditionally rejected in favor of the modern view. The modern view about creative cognition maintains that creativity is neither mysterious nor unintelligible and that it is indeed susceptible to analysis. The paradigmatic objects of analysis in creative cognition research have been creative output and the creative process. The degree of creativity of an output is assessed in accordance with certain criterial definitions. The degree of creativity of a cognitive process (...) is assessed in accordance with certain models of creative cognition, psychometric test measures, and neuroimaging studies that are grounded in certain criteria for assessment. The reliance on criterial definitions and criteria for assessment in analyzing either the creative output or the creative process suggests that creative cognition researchers remain under the sway of the classical, bundles-of-criteria theory of meaning. In this paper, I will critically evaluate the criterial problems that confront both criterial definitions and criteria for assessment before proposing an alternative theory of meaning. (shrink)

The book addresses the broad issue of sustainability of our civilization and seeks to contribute to the ongoing discussion of what many see as its systemic crisis. There is a broad agreement that new creative ideas, initiatives, and solutions are essential for dealing with the current problems. However, despite this recognition, we still know very little about the process of creation and how it works. As a result, our civilization fails to harness the enormous creative potential of humanity. This failure, (...) the book argues, is the main source of our current problems—languishing economy, deteriorating environment, continued violence, the deficit of democracy, and the lack of new fundamental breakthroughs in science. It examines some of these problems and demonstrates the connection between them and our failure to embrace the process of creation. The book offers a perspective that sheds light on the process of creation. It pays special attention to the theoretical contributions of Jean Piaget and the ongoing discussions of knowledge production that help us understand better how the process of creation works. The central argument of the book is that in order to solve our current problems and ensure the sustainability of our civilization well into the future we must embrace the process of creation and make it the central organizing principle of our social practice. Finally, the book provides an outline of the principal changes that the adoption of the new social practice organized around the process of creation will involve. (shrink)

Elijah Chudnoff’s case for irreducible cognitive phenomenology hinges on seeming to see the truth of a mathematical proposition (Chudnoff 2015). In the following, I develop an augmented version of Chudnoff’s case, not based on seeming to see, or intuition, but based on being in a state with presentational phenomenology of high-level content. In contrast to other cases for cognitive phenomenology, those based on Strawson’s case (Strawson 2011), I argue that the case presented here is able to withstand counterarguments, which attempt (...) to reduce cognitive phenomenology to sensory phenomenology. To support my argument, I present findings from Bowden and Jung-Beeman’s experiments with the Aha! Experience (Bowden & Jung-Beeman 2004), and argue that the Aha! Experience is a species of the experience of understanding presented here. I interpret the results of these experiments to provide further evidence for irreducible cognitive phenomenology. (shrink)

This volume presents research that integrates decision making and creativity within the social contexts in which these processes occur. The volume is an essential addition to and expansion of recent approaches to decision making. Such approaches attempt to incorporate more of the psychological and socio-cultural context in which human decision making takes place. The authors come from different disciplines and also belong to a broad spectrum of research traditions. They present innovative chapters dealing with both theoretical and empirical aspects of (...) decision making in different personal and organizational contexts. All chapters are written from the perspective that human decision making is inherently social and more or less creative. The volume addresses fundamental questions about the nature of human decision making as it occurs in different social contexts. Thereby, it becomes essential reading for researchers in decision making and for advanced students in psychology, management science, informatics, and related disciplines. (shrink)

In a couple of classical studies, Keeney proposed two sets of variables labelled as value focused thinking (VFT) and alternative-focused thinking (AFT). Value-focused thinking (VFT), he argued, is a creative method that centres on the different decision objectives and how as many alternatives as possible may be generated from them. Alternative-focused thinking (AFT), on the other hand, is a method in which the decision maker takes notice of all the available alternatives and then makes a choice that seems to fit (...) the problem best. The impact of these two methods on idea generation was measured using a sample of employees. The results revealed that employees in the value-focused thinking condition (VFT) produced fewer ideas. Thus, value-focused thinking (VFT) is not only able to facilitate ideation fluency but also to constrain it. Factors such as cognitive effort and motivation may play a part here. However, the quality of the ideas was judged to be higher in terms of creativity and innovativeness. Hence, value-focused thinking (VFT) seems to have a positive impact on the quality of ideas in terms of creativity and innovativeness regardless of ideation fluency. Implications for the design of idea management systems are discussed. (shrink)

Searching through semantic memory may involve the use of several retrieval cues. In a verbal fluency task, the set of available cues is limited and every candidate word is a target. Individuals exhibit clustering behavior as predicted by optimal foraging theory. In another semantic search task, the remote associates task, three cues are presented and a single target word has to be found. Whereas the task has been widely studied as a task of creativity or insight problem solving, in this (...) article, the RAT is treated as a semantic retrieval task and assessed from the perspective of information foraging theory. Experiments are presented that address the superadditive combination of cues and the anti-clustering behavior in the recall sequence. A new type of search behavior in the RAT is put forward that involves maximizing the difference in activation between target and distractors. This type of search is advantageous when the target is weak and cue patches are contaminated with strong competitors. (shrink)

Individual differences in convergent and divergent thinking may uniquely explain variation in analogical reasoning ability. Across two studies we investigated the relative influences of divergent and convergent thinking as predictors of verbal analogy performance. Performance on both convergent thinking and divergent thinking uniquely predicted performance on both analogy selection and analogical generation tasks. Moreover, convergent and divergent thinking were predictive above and beyond creative behaviours in Study 1 and a composite measure of crystallised intelligence in Study 2. Verbal analogies in (...) Study 2 also varied in semantic distance, with results demonstrating divergent thinking as a stronger predictor of analogy generation for semantically far than for semantically near analogies. Results thus further illuminate the link between analogical reasoning and creative cognition by demonstrating convergent and di.. (shrink)

Dual-process models of cognition suggest that there are two types of thought: autonomous Type 1 processes and working memory dependent Type 2 processes that support hypothetical thinking. Models of creative thinking also distinguish between two sets of thinking processes: those involved in the generation of ideas and those involved with their refinement, evaluation, and/or selection. Here we review dual-process models in both these literatures and delineate the similarities and differences. Both generative creative processing and evaluative creative processing involve elements that (...) have been attributed to each of the dual processes of cognition. We explore the notion that creative thinking may rest upon the nature of a shifting process between Type 1 and Type 2 dual processes. We suggest that a synthesis of the evidence bases on dual-process models of cognition and of creative thinking, together with developing time-based approaches to explore the shifting process, could better inform the development of i.. (shrink)

In two experiments and two different research paradigms, we tested the hypothesis that Zen meditation increases access to accessible but unconscious information. Zen practitioners who meditated in the lab performed better on the Remote Associate Test than Zen practitioners who did not meditate. In a new, second task, it was observed that Zen practitioners who meditated used subliminally primed words more than Zen practitioners who did not meditate. Practical and theoretical implications are discussed.

The phenomenology of the creative process has been a neglected area of creativity research. The current study investigated the phenomenology of artistic creativity through semi-structured interviews with 11 artists. The findings consisted of 19 interlinked constituents, with 3 dynamics operating within these constituents: an intuition-analysis dynamic, a union-division dynamic, and a freedom-constraint dynamic. The findings are discussed in relation to the issues of creativity and spirituality, intuition and analysis, the creative synthesis, affective components, and flow. The findings display considerable overlap (...) with previous research into the phenomenology of the artistic creative process, yet place particular emphasis on the shift in sense of self associated with creative experience and the energising effect of a synthesis of disparate elements. (shrink)

This research examined the role of thought suppression in the formation of mental blocks. In Experiment 1, participants were asked to generate a series of creative associates for two target words after initially suppressing a word that was semantically related to one of the two target words. Participants produced fewer responses, and experienced a greater sensation of being mentally blocked, when attempting to produce associates for the target word that was semantically related to the suppressed word. In Experiment 2, participants (...) either thought about or suppressed a series of words prior to completing a word fragment completion task. Each word either corresponded exactly to one of the word fragment solutions or resembled one of the solutions but was slightly different in its orthographic properties . Participants performed most poorly on the items for which they had initially suppressed negative primes. (shrink)

We propose expanding the authors’ shared novelty-seeking basis for creativity and curiosity by emphasizing an underlying computational principle: Minimizing prediction errors (mismatch between predictions and incoming data). Curiosity is tied to the anticipation of minimizing prediction errors through future, novel information, whereas creative AHA moments are connected to the actual minimization of prediction errors through current, novel information.

Co-creativity focuses on how individuals produce innovative ideas together. As few studies have explored co-creativity using standardized tests, it is difficult to effectively assess the individual’s creativity performance within a group. Therefore, this study aims to develop a platform that allows two individuals to answer creativity tests simultaneously. This platform includes two divergent thinking tasks, the Straw Alternative Uses Test and Bottle Alternative Uses Test, and Chinese Radical Remote Associates Test A and B, which were used to evaluate their open-and (...) closed-ended creative problem-solving performance. This platform has two modes: single-player mode and paired-player mode. Responses from 497 adults were collected, based on which the fluency, flexibility, and originality of divergent thinking were measured. This study also developed a computer scoring technique that can automatically calculate the scores on these creativity tests. The results showed that divergent thinking scores from computer-based calculation and manual scoring were highly positively correlated, suggesting that the scores on a divergent thinking task can be calculated through a system that avoids time-consuming, uneconomical manual scoring. Overall, the two types of tests on this platform showed considerable internal consistency reliability and criterion-related validity. This advanced application facilitates the collection of empirical evidence about co-creativity. (shrink)

The insight phenomenon is thought to comprise two components: cognitive and affective. The exact nature of the Aha! experience remains unclear; however, several explanations have been put forward. Based on the processing fluency account, the source of the Aha! experience is a sudden increase in processing fluency, associated with emerging of a solution. We hypothesized that in a situation which the Aha! experience accompanies the solution in, the problem would be judged as less difficult, regardless of the objective difficulty. We (...) also planned to confirm previously discovered associations between the Aha! experience and accuracy, confidence, and pleasure. To test the proposed hypothesis, during the preliminary stage of the study, we developed a set of 100 remote associate problems in Russian and asked 125 participants to solve problems and indicate the Aha! moment, confidence, difficulty, and likability of each problem. As expected, the Aha! experience often accompanied correct solutions and correlated with confidence judgments. We also found a positive correlation between the Aha! experience and problem likability. As for the main hypothesis, we confirmed that the Aha! experience after the presentation of the solution was associated with a decrease in subjective difficulty. When participants could not solve a problem but experienced the Aha! moment after the solution was presented to them, the problem was perceived as easier than one without the Aha! experience. We didn’t find the same effect for the Aha! after solution generation. Thus, our study partially supports the processing fluency account and demonstrates the association between the Aha! experience and metacognitive judgments about the accuracy and difficulty of problems. (shrink)

Despite its theoretical importance, little is known about how semantic memory structure facilitates and constrains creative idea generation. We examine whether the semantic richness of a concept has both benefits and costs to creative idea generation. Specifically, we tested whether cue set size—an index of semantic richness reflecting the average number of elements associated with a given concept—impacts the quantity (fluency) and quality (originality) of responses generated during the Alternate Uses Task (AUT). Across four studies, we show that low-association, sparse, (...) AUT cues benefit originality at the cost of fluency compared to high-association, rich, AUT cues. Furthermore, we found an interaction with individual differences in fluid intelligence in the low-association AUT cues, suggesting that constraints of sparse semantic knowledge can be overcome with top-down intervention. Our findings indicate that semantic richness differentially impacts the quality and quantity of generated ideas, and that cognitive control processes can facilitate idea production when conceptual knowledge is limited. (shrink)

Topics in Cognitive Science, Volume 14, Issue 1, Page 163-188, January 2022.

Topics in Cognitive Science, Volume 14, Issue 1, Page 143-162, January 2022.

This study examined the effects of mood and risk-taking on divergent and convergent thinking using a Q-learning computation model. The results revealed that while mood was not significantly related to divergent or convergent thinking (as creative thinking types), risk-taking exerted positive effects on divergent thinking in the face of negative rewards. The results were consistent with the representational change theory in insight problem solving. Although this theory accounts directly for insight, the underlying idea of going beyond current contexts and implicit (...) constrains could be applied to creative thinking as well. The results indeed accounted for the relevance of this theory to divergent thinking. The current study is one of the first empirical studies simultaneously examining the role of mood and risk-taking in creativity. In particular, no related studies exist that took a computational approach to estimate the relevant parameters in the framework of dynamic optimization. Our Q learning model enables to distinguish and identify the different roles of mood and risk-taking in updatingQvalues and making decisions. (shrink)

Some thoughts just come to mind together. This is usually thought to happen because they are connected by associations, which the mind follows. Such an explanation assumes that there is a particular kind of simple psychological process responsible. This view has encountered criticism recently. In response, this paper aims to characterize a general understanding of associative simplicity, which might support the distinction between associative processing and alternatives. I argue that there are two kinds of simplicity that are treated as characteristic (...) of association, and as a result three possible versions of associative processing. This provides a framework that informs our understanding of association as a current and historical concept, including how various specific versions in different parts of psychology relate to one another. This framework can also guide debates over normative evaluations of actions produced by processes thought to be associative. (shrink)

‘Dira’ is a novel experimental paradigm to record combinations of behavioural and metacognitive measures for the creative process. This task allows assessing chronological and chronometric aspects of the creative process directly and without a detour through creative products or proxy phenomena. In a study with 124 participants we show that (a.) people spend more time attending to selected versus rejected potential solutions, (b.) there is a clear connection between behavioural patterns and self-reported measures, (c.) the reported intensity of Eureka experiences (...) is a function of interaction time with potential solutions, and (d.) experiences of emerging solutions can happen immediately after engaging with a problem, before participants explore all potential solutions. The conducted study exemplifies how ‘Dira’ can be used as an instrument to narrow down the moment when solutions emerge. We conclude that the ‘Dira’ experiment is paving the way to study the process, as opposed to the product, of creative problem solving. (shrink)