Journal of Creative Behavior最新文献

Research has demonstrated that on the path from a creative idea to a creative outcome, high creativity motivation and self-efficacy do not necessarily lead to creative behavior. The present study proposed and examined the notion that daily creativity planning could promote creative behavior and contribute to the cultivation of creativity. A total of 77 middle school students (39 students in the experimental group and 38 in the control group) participated in this study, for which a quasi-experimental design was administered. The experimental group conducted a two-week daily planning for creative activities, while the control group did not conduct any intervention. The results showed that students' creativity motivation and creative self-efficacy were at relatively high levels overall and were positively and moderately correlated with creative behavior. Daily planning could effectively facilitate students' creative behavior. These findings point to a promising and simple creativity enhancement strategy for cultivating students to develop the habit of making creative plans in their daily lives.

One of the best-known and most frequently used measures of creative idea generation is the Torrance Test of Creative Thinking (TTCT). The TTCT Verbal, assessing verbal ideation, contains two forms created to be used interchangeably by researchers and practitioners. However, the parallel forms reliability of the two versions of the TTCT Verbal has not been examined for over 50 years. This study provides a long-needed evaluation of the parallel forms reliability of the TTCT Verbal by correlating publisher generated and text-mining-based scores across the forms. The relatively weak relationship between the two forms, ranging between .21 and .40 for the overall TTCT Verbal and ranging between .03 and .33 for the individual TTCT Verbal tasks, suggests that caution should be exercised when researchers and practitioners use the two forms as equivalent measures of verbal creative idea generation.

Metacognition and motivation are considered key facets of self-regulation in various contexts. Recent studies identified a link between metacognition and creative performance, with metacognitively aware students performing more creatively and exhibiting higher levels of intrinsic and identified extrinsic motivation. The present study aims to examine the relationship between metacognition, orientation toward intrinsic or extrinsic motivation, and creative performance. One hundred nineteen university students completed the Metacognitive Awareness Inventory (MAI) and Scale of Intrinsic versus Extrinsic Orientation in the Classroom and performed four verbal creativity tasks (product improvement task, consequences task, and two unusual uses tasks). The partial correlation network showed that all the creativity tasks were uniquely related to at least one facet of metacognition, and that the most complex task (product improvement task) was linked to both metacognitive knowledge and regulation. Furthermore, the structural equation model indicated that orientation toward intrinsic motivation mediated the relationship between metacognition and creative performance, explaining 16% of the variance in creative performance.

In one study, we examined the relationships between pre-task creative self-efficacy, post-task creative confidence, self-rated and judges-rated creativity evaluations, metacognitive feelings, and idea selection under a metacognitive framework. Four hundred and fourteen college students were asked to complete a divergent thinking problem in the domain of marketing and completed several questionnaires measuring pre-task creative self-efficacy, post-task creative confidence, idea evaluation and selection, and metacognitive feelings. Independent judges evaluated the creativity of each idea generated and ranked ideas from the most to the least creative. Results showed positive relationships between pre-task creative self-efficacy and post-task creative confidence, self- and judges-rated creativity evaluations and metacognitive feelings. In addition, metacognitive feelings and self-rated creative evaluations predicted post-task confidence. We also observed evidence for positive connections between metacognitive feelings and self-rated evaluations and greater probability of choosing the first idea brought to mind as the best idea than what was expected by chance. The implications of the results were discussed.

Two experiments examined the dual influence of mind wandering (MW) on the incubation of both deliberate and spontaneous modes of creativity. Specifically, using a modified version of Sustained Attention Response Task as the incubation task, this study assessed whether taking a break from a creative task and engaging in either an MW-allowed task or an MW-prevented task can exert differential effects on different aspects of creativity. Results showed that after engaging in an incubation task that allowed MW rather than prevented MW, participants generated ideas more flexibly but less persistently in the subsequent divergent thinking tasks, and were more likely to solve creative insight problems through intuitive insight but not systematic analysis. The results suggest that MW during incubation may simultaneously facilitate the spontaneous mode of creativity while suppressing the deliberate mode of creativity. These findings also indicate that creativity must be parsed into different subtypes in order to identify more specific ways to enhance creativity.

The article aims to identify and analyze the roles played by the script in the creative process of independent short film production. The theoretical framework is based on distributed creativity and sociomateriality. These approaches are complementary and helped us discuss how the script can shape the creativity of the subjects involved in the film production. We have followed the daily teamwork during the film production through participant observation, interviews, documents, photographs, and video. We identified three roles played by the script: (1) protagonist: centralizes creative ideas around its framing; (2) feature player: responsible for mediating creative actions, and (3) antagonist: hinders creative actions. Each of these roles directly influences the different stages of the creative process, which takes place through creativity distributed between people and artifacts. We conclude that artifacts have temporary roles in the creative process, and more than enhancing or limiting this process, they are an integral part of creativity. Therefore, humans and artifacts are entangled in the creative process and should not be analyzed separately.