Developing creativity in practice: Explorations with world-renowned chefs

Relatively little practice-based research explores situated learning beyond the level of basic skill development. This article seeks to expand our understanding by focusing on the situated development of high-level creativity in the practice of haute cuisine and the role of the master–apprentice relationship in this development. Much has been written on what creativity is and where it happens, but little is known about how it is developed. By using an insider to investigate highly creative practitioners, namely, world-renowned chefs, this research provides the necessary contextual understanding for studying and explaining the development of high-level creativity in this field.

EEG alpha power and creative ideation

Neuroscientific studies revealed first insights into neural mechanisms underlying creativity, but existing findings are highly variegated and often inconsistent. Despite the disappointing picture on the neuroscience of creativity drawn in recent reviews, there appears to be robust evidence that EEG alpha power is particularly sensitive to various creativity-related demands involved in creative ideation. Alpha power varies as a function of creativity-related task demands and the originality of ideas, is positively related to an individuals' creativity level, and has been observed to increase as a result of creativity interventions. Alpha increases during creative ideation could reflect more internally oriented attention that is characterized by the absence of external bottom-up stimulation and, thus, a form of top-down activity. Moreover, they could indicate the involvement of specific memory processes such as the efficient (re-)combination of unrelated semantic information. We conclude that increased alpha power during creative ideation is among the most consistent findings in neuroscientific research on creativity and discuss possible future directions to better understand the manifold brain mechanisms involved in creativity.

Creativity and personality in classical, jazz and folk musicians

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Creativity and personality of classical, jazz, and folk musicians was compared.

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Jazz musicians show higher divergent thinking ability.

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Jazz musicians accomplish more creative musical activities and achievements.

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Classical musicians show a high amount of practice and win more competitions.

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Folk musicians are more extraverted and publish more musical productions.

The music genre of jazz is commonly associated with creativity. However, this association has hardly been formally tested. Therefore, this study aimed at examining whether jazz musicians actually differ in creativity and personality from musicians of other music genres. We compared students of classical music, jazz music, and folk music with respect to their musical activities, psychometric creativity and different aspects of personality. In line with expectations, jazz musicians are more frequently engaged in extracurricular musical activities, and also complete a higher number of creative musical achievements. Additionally, jazz musicians show higher ideational creativity as measured by divergent thinking tasks, and tend to be more open to new experiences than classical musicians. This study provides first empirical evidence that jazz musicians show particularly high creativity with respect to domain-specific musical accomplishments but also in terms of domain-general indicators of divergent thinking ability that may be relevant for musical improvisation. The findings are further discussed with respect to differences in formal and informal learning approaches between music genres.

The Road to Creative Achievement: A Latent Variable Model of Ability and Personality Predictors

This study investigated the significance of different well-established psychometric indicators of creativity for real-life creative outcomes. Specifically, we tested the effects of creative potential, intelligence, and openness to experiences on everyday creative activities and actual creative achievement. Using a heterogeneous sample of 297 adults, we performed latent multiple regression analyses by means of structural equation modelling. We found openness to experiences and two independent indicators of creative potential, ideational originality and ideational fluency, to predict everyday creative activities. Creative activities, in turn, predicted actual creative achievement. Intelligence was found to predict creative achievement, but not creative activities. Moreover, intelligence moderated the effect of creative activities on creative achievement, suggesting that intelligence may play an important role in transforming creative activities into publically acknowledged creative achievements. This study supports the view of creativity as a multifaceted construct and provides an integrative model illustrating the potential interplay between its different facets.

Stressors of dual-qualification nursing teachers in the ChengDu-ChongQing economic zone of China--a qualitative study

Nursing and teaching are considered risk professions with high levels of stress and burnout. Dual-qualification nursing teachers (DQNT) are nurses who both teach and practise. These nurses face additional stress. This study explored the stressors of DQNT in the Chengdu-Chongqing Economic Zone of China. This qualitative study used in-depth, open-ended interviews. The interview responses were analysed using a grounded theory approach. The participants in this study included 21 DQNT from 5 teaching hospitals in the Chengdu-Chongqing Economic Zone of China. The results indicated that heavy workload, personal safety, inadequate pay, role overload, and poor working environment are stressors of DQNT. Furthermore, Chinese DQNT face violence from patients and students. The study provides a theoretical basis to help DQNT to cope with stress.

The Two Dimensions of Motivation and a Reciprocal Model of the Creative Process

Past research investigating the role of motivation in creativity has closely examined the role of intrinsic (i.e., process-focused) and extrinsic (i.e., outcome-focused) motivation. Results from this literature have shown that the effects of social factors on creativity (e.g., social inhibition or facilitation effects) are at least partially explained by their effect on intrinsic and extrinsic motivation. The present review seeks to broaden the scientific understanding of the role of motivation in creativity by proposing that a second dimension of motivation needs to be taken into account. In addition to creators’ locus of motivation (i.e., whether they focus on the intrinsic process and/or extrinsic outcomes), creative behavior also appears to be driven by its intended beneficiaries (i.e., the self and/or others). Supporting the importance of this second dimension, recent empirical research has begun to investigate the relationship between prosocial motivation (i.e., the desire to contribute to other people's lives) and creativity. Thus, a combined look at research on these two dimensions of motivation highlights the bidirectional nature of the social processes at play in creativity: While studies investigating creators’ locus of motivation have examined the influence of others on creators, recent studies considering creators’ intended beneficiaries have stressed the importance of also understanding how creators wish to affect others in return. To integrate these two perspectives, we propose a reciprocal model of the creative process in which creators’ general motivational orientations (falling along the dimensions outlined above) are translated into specific motivational goals, and we review possible psychological mechanisms explaining how motivation may guide creative cognition.

The relationship between intelligence and creativity: New support for the threshold hypothesis by means of empirical breakpoint detection

The relationship between intelligence and creativity has been subject to empirical research for decades. Nevertheless, there is yet no consensus on how these constructs are related. One of the most prominent notions concerning the interplay between intelligence and creativity is the threshold hypothesis, which assumes that above-average intelligence represents a necessary condition for high-level creativity. While earlier research mostly supported the threshold hypothesis, it has come under fire in recent investigations. The threshold hypothesis is commonly investigated by splitting a sample at a given threshold (e.g., at 120 IQ points) and estimating separate correlations for lower and upper IQ ranges. However, there is no compelling reason why the threshold should be fixed at an IQ of 120, and to date, no attempts have been made to detect the threshold empirically. Therefore, this study examined the relationship between intelligence and different indicators of creative potential and of creative achievement by means of segmented regression analysis in a sample of 297 participants. Segmented regression allows for the detection of a threshold in continuous data by means of iterative computational algorithms. We found thresholds only for measures of creative potential but not for creative achievement. For the former the thresholds varied as a function of criteria: When investigating a liberal criterion of ideational originality (i.e., two original ideas), a threshold was detected at around 100 IQ points. In contrast, a threshold of 120 IQ points emerged when the criterion was more demanding (i.e., many original ideas). Moreover, an IQ of around 85 IQ points was found to form the threshold for a purely quantitative measure of creative potential (i.e., ideational fluency). These results confirm the threshold hypothesis for qualitative indicators of creative potential and may explain some of the observed discrepancies in previous research. In addition, we obtained evidence that once the intelligence threshold is met, personality factors become more predictive for creativity. On the contrary, no threshold was found for creative achievement, i.e. creative achievement benefits from higher intelligence even at fairly high levels of intellectual ability.

Mental illness, suicide and creativity: 40-year prospective total population study

We previously demonstrated that patients with schizophrenia or bipolar disorder and their relatives are overrepresented in creative occupations. Here, we use a new dataset with a considerably larger sample of patients (n = 1,173,763) to survey other psychiatric diagnoses and to validate previous findings. The specific aims of this study were to i) investigate if creativity is associated with all psychiatric disorders or restricted to those with psychotic features, and ii) to specifically investigate authors in relationship to psychopathology. We conducted a nested case-control study using longitudinal Swedish total population registries, where the occurrence of creative occupations in patients and their non-diagnosed relatives was compared to that of matched population controls. Diagnoses included were schizophrenia, schizoaffective disorder, bipolar disorder, unipolar depression, anxiety disorders, alcohol abuse, drug abuse, autism, ADHD, anorexia nervosa, and completed suicide. Creative professions were defined as scientific and artistic occupations. Data were analyzed using conditional logistic regression. Except for bipolar disorder, individuals with overall creative professions were not more likely to suffer from investigated psychiatric disorders than controls. However, being an author was specifically associated with increased likelihood of schizophrenia, bipolar disorder, unipolar depression, anxiety disorders, substance abuse, and suicide. In addition, we found an association between creative professions and first-degree relatives of patients with schizophrenia, bipolar disorder, anorexia nervosa, and for siblings of patients with autism. We discuss the findings in relationship to some of the major components of creativity.

Creativity and health: an anti-humanist reflection

Many studies suggest that health benefits from engaging with the creative arts, but explanations of the association remain tenuous. This article explores both creativity and health from an anti-humanist perspective and develops a Deleuze-inspired analysis to supply the theoretical framework for creativity and health. In this view, creativity is an active, experimenting flow within a network or assemblage of bodies, things, ideas and institutions, while health is understood as the capacity of a body to affect and be affected by this assemblage. It is consequently unsurprising that there is a relationship between creative activity and health. This analysis is used to explore how creative production and reception can affect health, and to assess the implications for sociology and for arts in health-care practice.

Communicating creativity on YouTube: what and for whom?

This article addresses nonprofessional users' expressions of everyday creativity on YouTube, adopting the idea that making entails connecting on different levels. By combining different materials and ideas into a video and sharing it within the social context of the platform, uploaders can connect with its enormous audience. In our first study, we explore patterns in the elements that are used when creating a video. We also question whether these pattern combinations are aimed at different types of viewers. Our results show that videos with self-made content that display various skills are mainly targeted at viewers situated close to the uploader (e.g., family, friends). However, videos that incorporate instances of popular culture, either as a whole (e.g., a pop concert recording) or in part (e.g., remixed with other content), are directed at a much broader audience. In our second study, we question whether these self-made videos convey a message about uploaders' personality traits commonly linked to creative behavior. We found that independent observers are able to accurately predict the uploaders' actual openness to experience, a trait marked as the substrate of creativity. Next, we discuss our results in light of a pessimistic view of today's democratized culture. We show that uploaders appear to have a tacit knowledge of what kind of videos are interesting for what type of viewers. We conclude that, despite the lowered barriers to the production and dissemination of video, YouTube viewers are still able to identify variations in the personality trait most commonly associated to creativity.

Rethinking Giftedness and Gifted Education

For nearly a century, scholars have sought to understand, measure, and explain giftedness. Succeeding theories and empirical investigations have often built on earlier work, complementing or sometimes clashing over conceptions of talent or contesting the mechanisms of talent development. Some have even suggested that giftedness itself is a misnomer, mistaken for the results of endless practice or social advantage. In surveying the landscape of current knowledge about giftedness and gifted education, this monograph will advance a set of interrelated arguments: The abilities of individuals do matter, particularly their abilities in specific talent domains; different talent domains have different developmental trajectories that vary as to when they start, peak, and end; and opportunities provided by society are crucial at every point in the talent-development process. We argue that society must strive to promote these opportunities but that individuals with talent also have some responsibility for their own growth and development. Furthermore, the research knowledge base indicates that psychosocial variables are determining influences in the successful development of talent. Finally, outstanding achievement or eminence ought to be the chief goal of gifted education. We assert that aspiring to fulfill one’s talents and abilities in the form of transcendent creative contributions will lead to high levels of personal satisfaction and self-actualization as well as produce yet unimaginable scientific, aesthetic, and practical benefits to society.

To frame our discussion, we propose a definition of giftedness that we intend to be comprehensive. Giftedness is the manifestation of performance that is clearly at the upper end of the distribution in a talent domain even relative to other high-functioning individuals in that domain. Further, giftedness can be viewed as developmental in that in the beginning stages, potential is the key variable; in later stages, achievement is the measure of giftedness; and in fully developed talents, eminence is the basis on which this label is granted. Psychosocial variables play an essential role in the manifestation of giftedness at every developmental stage. Both cognitive and psychosocial variables are malleable and need to be deliberately cultivated.

Our goal here is to provide a definition that is useful across all domains of endeavor and acknowledges several perspectives about giftedness on which there is a fairly broad scientific consensus. Giftedness (a) reflects the values of society; (b) is typically manifested in actual outcomes, especially in adulthood; (c) is specific to domains of endeavor; (d) is the result of the coalescing of biological, pedagogical, psychological, and psychosocial factors; and (e) is relative not just to the ordinary (e.g., a child with exceptional art ability compared to peers) but to the extraordinary (e.g., an artist who revolutionizes a field of art).

In this monograph, our goal is to review and summarize what we have learned about giftedness from the literature in psychological science and suggest some directions for the field of gifted education. We begin with a discussion of how giftedness is defined (see above). In the second section, we review the reasons why giftedness is often excluded from major conversations on educational policy, and then offer rebuttals to these arguments. In spite of concerns for the future of innovation in the United States, the education research and policy communities have been generally resistant to addressing academic giftedness in research, policy, and practice. The resistance is derived from the assumption that academically gifted children will be successful no matter what educational environment they are placed in, and because their families are believed to be more highly educated and hold above-average access to human capital wealth. These arguments run counter to psychological science indicating the need for all students to be challenged in their schoolwork and that effort and appropriate educational programing, training and support are required to develop a student’s talents and abilities. In fact, high-ability students in the United States are not faring well on international comparisons. The scores of advanced students in the United States with at least one college-educated parent were lower than the scores of students in 16 other developed countries regardless of parental education level.

In the third section, we summarize areas of consensus and controversy in gifted education, using the extant psychological literature to evaluate these positions. Psychological science points to several variables associated with outstanding achievement. The most important of these include general and domain-specific ability, creativity, motivation and mindset, task commitment, passion, interest, opportunity, and chance. Consensus has not been achieved in the field however in four main areas: What are the most important factors that contribute to the acuities or propensities that can serve as signs of potential talent? What are potential barriers to acquiring the “gifted” label? What are the expected outcomes of gifted education? And how should gifted students be educated?

In the fourth section, we provide an overview of the major models of giftedness from the giftedness literature. Four models have served as the foundation for programs used in schools in the United States and in other countries. Most of the research associated with these models focuses on the precollegiate and early university years. Other talent-development models described are designed to explain the evolution of talent over time, going beyond the school years into adult eminence (but these have been applied only by out-of-school programs as the basis for educating gifted students).

In the fifth section we present methodological challenges to conducting research on gifted populations, including definitions of giftedness and talent that are not standardized, test ceilings that are too low to measure progress or growth, comparison groups that are hard to find for extraordinary individuals, and insufficient training in the use of statistical methods that can address some of these challenges.

In the sixth section, we propose a comprehensive model of trajectories of gifted performance from novice to eminence using examples from several domains. This model takes into account when a domain can first be expressed meaningfully—whether in childhood, adolescence, or adulthood. It also takes into account what we currently know about the acuities or propensities that can serve as signs of potential talent. Budding talents are usually recognized, developed, and supported by parents, teachers, and mentors. Those individuals may or may not offer guidance for the talented individual in the psychological strengths and social skills needed to move from one stage of development to the next. We developed the model with the following principles in mind: Abilities matter, domains of talent have varying developmental trajectories, opportunities need to be provided to young people and taken by them as well, psychosocial variables are determining factors in the successful development of talent, and eminence is the aspired outcome of gifted education.

In the seventh section, we outline a research agenda for the field. This agenda, presented in the form of research questions, focuses on two central variables associated with the development of talent—opportunity and motivation—and is organized according to the degree to which access to talent development is high or low and whether an individual is highly motivated or not.

Finally, in the eighth section, we summarize implications for the field in undertaking our proposed perspectives. These include a shift toward identification of talent within domains, the creation of identification processes based on the developmental trajectories of talent domains, the provision of opportunities along with monitoring for response and commitment on the part of participants, provision of coaching in psychosocial skills, and organization of programs around the tools needed to reach the highest possible levels of creative performance or productivity.

Finding Creative Potential on Intelligence Tests via Divergent Production

Assessing creative potential using a comprehensive battery of standardized tests requires a focus on how and why an individual responds in addition to how well they respond. Using the “intelligent testing” philosophy of focusing on the person being tested rather than the measure itself helps psychologists form a more complete picture of an examinee, which may include information about his or her creative potential. Although most aspects of creativity are not present in current individually based IQ and achievement tests, one exception is divergent production. Although still poorly represented, some subtests show great potential for tapping into divergent production, and hence provide some insight into creativity. The research on the relationship between measures of intelligence and creativity is discussed in this article. The authors also propose a way to use individually administered cognitive and achievement batteries to extract information about an individual’s divergent production and general creative potential.

Fostering creativity in product and service development: validation in the domain of information technology

OBJECTIVE

This research is intended to empirically validate a general model of creative product and service development proposed in the literature.

BACKGROUND

A current research gap inspired construction of a conceptual model to capture fundamental phases and pertinent facilitating metacognitive strategies in the creative design process. The model also depicts the mechanism by which design creativity affects consumer behavior. The validity and assets of this model have not yet been investigated.

METHOD

Four laboratory studies were conducted to demonstrate the value of the proposed cognitive phases and associated metacognitive strategies in the conceptual model. Realistic product and service design problems were used in creativity assessment to ensure ecological validity.

RESULTS

Design creativity was enhanced by explicit problem analysis, whereby one formulates problems from different perspectives and at different levels of abstraction. Remote association in conceptual combination spawned more design creativity than did near association. Abstraction led to greater creativity in conducting conceptual expansion than did specificity, which induced mental fixation. Domain-specific knowledge and experience enhanced design creativity, indicating that design can be of a domain-specific nature. Design creativity added integrated value to products and services and positively influenced customer behavior.

CONCLUSION

The validity and value of the proposed conceptual model is supported by empirical findings.

APPLICATION

The conceptual model of creative design could underpin future theory development. Propositions advanced in this article should provide insights and approaches to facilitate organizations pursuing product and service creativity to gain competitive advantage.

Creativity and Discovery as Blind Variation: Campbell's (1960) BVSR Model after the Half-Century Mark

This article assesses and extends Campbell's (1960) classic theory that creativity and discovery depend on blind variation and selective retention (BVSR), with special attention given to blind variations (BVs). The treatment begins by defining creativity and discovery, variant blindness versus sightedness, variant utility and selection, and ideational variants versus creative products. These definitions lead to BV identification criteria: (a) intended BV, which entails both systematic and stochastic combinatorial procedures; and (b) implied BV, which involves both variations with properties of blindness (variation superfluity and backtracking) and processes that should yield variant blindness (associative richness, defocused attention, behavioral tinkering, and heuristic search). These conceptual definitions and identification criteria then have implications for four persistent issues, namely, domain expertise, ideational randomness, analogical equivalence, and personal volition. Once BV is suitably conceptualized, Campbell's theory continues to provide a fruitful approach to the understanding of both creativity and discovery.

Creativity in ergonomic design: a supplemental value-adding source for product and service development

OBJECTIVE

This article investigates the role of creativity in ergonomic design and the generic process of developing creative products and services.

BACKGROUND

Creativity is gaining increased emphasis in both academia and industry. More than 50 years of research in creativity indicates that creativity is key to product and service innovation. Nevertheless, there is scarcely any comprehensive review dedicated to appraising the complex construct of creativity, the underlying cognitive process, and the role of creativity in product and service development.

METHOD

We review relevant literature regarding creativity, creative cognition, and the engineering design process to appraise the role of creativity in ergonomic design and to construct a conceptual model of creative product and service development.

RESULTS

A framework of ergodesign creativity is advanced that highlights the central role of creativity in synergistically addressing the four dimensions of ergonomic design: functionality, safety, usability, and affectivity. A conceptual model of creative design process is then constructed that is goal oriented and is initiated by active problem finding and problem formulating. This process is carried out in a recursive and dynamic way, facilitated by creative thinking strategies.

CONCLUSION

It is proposed that ergodesign creativity can add supplemental value to products and services, which subsequently affects consumer behavior and helps organizations gain competitive advantage.

APPLICATION

The proposed conceptual framework of ergodesign creativity and creative design process can serve as the ground for future theory development. Propositions advanced in this study should facilitate designers generating products and services that are creative and commercially competitive.