Journal of Creative Behavior最新文献

The 7C's of creativity (Lubart, 2017) summarize scientific contributions in seven categories as a function of their main object of interest in relation to creativity: Creators, Creating, Collaboration, Context, Creations, Consumption, and Curricula. In its attempt to grasp these different dimensions of the phenomenon of creativity, the psychology of creativity seems to have lost sight of its main object of interest: creative human behavior. This contribution constitutes a short plea to restore “Creating” (i.e., the creative behavior), to its central place in the psychology of creativity. Indeed, the study of the C's of creativity only makes sense in the articulation with the “why” and the “how” of creative behavior. This means focusing on behavioral measures, or at least explicitly considering a direct link between the variables under study and actual creative behaviors. Not all C's are equal, and “Creating” should be the main phenomenon of interest for the discipline. This proposition echoes the various calls to refocus on the study of behavior and behavioral measures in psychology. Research in the field of the psychology of creativity, and especially in the Journal of Creative Behavior, cannot ignore the need to focus on creative behavior.

The purpose of this study is to provide reliable evidence of the observable correlates of the Aha! moment and what this means for moving from surface to deep thinking. The study analyses facial expressions and body language from video recordings of students solving problems, followed by interviews, focus groups, and surveys. The problem-solving involved asking students to solve word problems to generate an Aha! moment and seeing how their expressions changed (or not) when they ascertained the correct answer. Findings showed clear facial, emotional, and body language changes when the problems were solved. Implications for teaching are discussed.

Cognitive and behavioral studies ranging from biomechanics to motor functions and neural mirroring explorations have extensively investigated the communication of emotions in music and dance. Recognized for their ability to convey and elicit emotions, various studies aim to validate the extent to which auditory expressive cues and embodied expressive movements are able to convey emotions. However, is expressing and evoking emotions a generalized intention of music and dance? Although much data exists based on audience responses (decoders), composers' and choreographers' (encoders) intentions beyond experimental instructions are still being determined. This paper reports two studies investigating the intention of composers and choreographers when creating new works. Results revealed that expressing emotions is not a primary goal yet a significant underlying intention. Furthermore, composers and choreographers aimed for their expressed emotions to be perceived rather than felt. Moreover, the genre conventions determined by stylistic and cultural factors influenced emotion expression, with some genres allowing more expressive cues than others, likely affecting the extent to which emotions are meaningfully conveyed. These findings point to potential cue variance between actual intentions and experiment-intended stimuli to express and thus communicate emotions. An argument for the importance of ecological validity in laboratory-based experiments is presented.

In this study, flow, both dispositional and state, and movement-based creative processing were investigated in a group of pre-professional and professional dancers (N = 288) who were involved in the creation, rehearsal, and performance of a new dance work(s). Dance is both movement-based and group-based. The Experience of Creativity Questionnaire and Dispositional Flow Scale were administered 2 weeks prior to the performance of the new choreography. The state flow data were collected immediately after the completion of the final dress rehearsal and immediately following the opening night performance. The results of this quasi-experimental study demonstrated that the association with creative processes and dispositional flow dimensions yielded weak significance. Many creative processing dimensions predicted state dress and performance flow conditions, although the predominant predictors were Clarity and Preparation, Creative Anxiety (negative predictor), and Beyond the Personal. The uniqueness of this study was that it focused on movement-based creative processing and its relation with dispositional and state flow.

Pedagogical strategies for nurturing group creativity in school mathematics have remained largely unexplored despite their significance. In this study, we explored the use of role playing in mathematical modeling activities for nurturing group creativity in a 9th-grade mathematics class in Korea. We described the theoretical bases and types of roles that nurture group creativity while examining the effects of role playing and the factors that seem to promote it. The data of this study included lesson observations, samples of student work, and interviews with 20 participating students and their teachers. The interactions of the five groups of students were compared and analyzed. The results suggest that role playing contributes to nurturing group creativity by inducing interactions and improving creative synergies. The factors that seem to promote role playing are students' understanding of role playing, a comfortable environment, the thought evaluator's role-playing effectiveness, and the need to make a mathematical decision. Based on these findings, we recommend that creativity researchers build on these findings to further explore how group creativity can be enhanced in mathematical modeling through role playing.