Idea Generation, Selection, and Evaluation: A Metacognitive Approach

A systematic framework of creative metacognition

Creative cognition does not just involve cognitive processes in direct service of the main task objective (e.g., idea generation), but also metacognitive processes that monitor and regulate cognition adaptively (e.g., evaluation of ideas and task performance, or development and selection of task strategies). Although metacognition is vital for creative performance, relevant work is sparse, which may be partly due to persistent ambiguities in the theoretical conceptualization of creative metacognition. Therefore, this article proposes a systematic framework of creative metacognition (CMC), which builds on recent advancements in metacognition theory and extends them to meet the specifics of creative cognition. The CMC framework consists of two dynamic components-monitoring and control-and a more static component of metacognitive knowledge, each subsuming metacognitive processes applying to the level of task, performance, and responses. We describe the presumed function of these metacognitive components in the creative process, present evidence in support of each, and discuss their association with related constructs, such as creative self-beliefs. We further highlight the dynamic interplay of metacognitive processes across task performance and identify promising avenues for future research.

Becoming Self-Aware of Feelings and Performance: The Influence of Creative Potential, Self-Evaluations, and Metacognitive Feelings on Creative Mindsets

Based on a recently developed model of creative cognition, we tested in two studies, the relationships between creative potential, self-evaluations, metacognitive feelings, and growth and fixed mindsets in creative action. In both studies, participants (N = 491, mean = 21.57, SD = 2.78 and N = 280, 94% between the ages of 18 and 25 years, respectively, for studies 1 and 2) first completed a divergent thinking task, followed by an assessment of metacognitive feelings, self-evaluations of the creativity of the ideas generated (only in study 2), and creative mindsets while knowing that a second divergent thinking task was coming. Results showed that creative mindsets were sensitive to variations in creative potential, self-evaluations, and metacognitive feelings when examined in creative action. Specifically, studies 1 and 2 showed positive relationships between metacognitive feelings and growth mindsets. Results from study 2 showed positive relationships between self-evaluations of the idea generated and growth mindsets. For fixed mindsets, the creative potential of task 1 had a negative relationship in study 1 and a negative relationship between fixed mindsets and the creative potential of task 2 in study 2. The implications for creative metacognition were explored.

Creative metacognition in design thinking: exploring theories, educational practices, and their implications for measurement

Design thinking is a well-established practical and educational approach to fostering high-level creativity and innovation, which has been refined since the 1950s with the participation of experts like Joy Paul Guilford and Abraham Maslow. Through real-world projects, trainees learn to optimize their creative outcomes by developing and practicing creative cognition and metacognition. This paper provides a holistic perspective on creativity, enabling the formulation of a comprehensive theoretical framework of creative metacognition. It focuses on the design thinking approach to creativity and explores the role of metacognition in four areas of creativity expertise: Products, Processes, People, and Places. The analysis includes task-outcome relationships (product metacognition), the monitoring of strategy effectiveness (process metacognition), an understanding of individual or group strengths and weaknesses (people metacognition), and an examination of the mutual impact between environments and creativity (place metacognition). It also reviews measures taken in design thinking education, including a distribution of cognition and metacognition, to support students in their development of creative mastery. On these grounds, we propose extended methods for measuring creative metacognition with the goal of enhancing comprehensive assessments of the phenomenon. Proposed methodological advancements include accuracy sub-scales, experimental tasks where examinees explore problem and solution spaces, combinations of naturalistic observations with capability testing, as well as physiological assessments as indirect measures of creative metacognition.

Metacognitive Feelings as a Source of Information for the Creative Process: A Conceptual Exploration

Philosophers and psychologists have debated the wisdom of using feelings as a source of information when making decisions. While not trying to solve this debate, a complementary approach is to examine how metacognitive feelings are used when generating, evaluating, and selecting ideas to solve creative problems and whether their use leads to accurate idea evaluation and selection. Hence, this conceptual article aims to explore how metacognitive feelings are used to evaluate and select creative ideas. Interestingly, while metacognitive feelings come from the perceived ease or difficulty of generating solutions to creative problems, these feelings also inform the decision to continue generating ideas or stop. Metacognitive feelings are then an integral part of the creative process of generating, evaluating, and selecting ideas. The present article briefly reviews the history of metacognitive feelings as examined in metamemory, meta-reasoning, and judgment formation in social psychology, before discussing their implications and potential for understanding the creative process. The article ends by positing directions for future research.