Novelty seeking might underlie curiosity and the novelty dimension of creativity, but not the usefulness dimension

We question the perspective that curiosity and creativity stem from a shared novelty-seeking process. We emphasize that creativity has two distinct dimensions: Novelty and usefulness, each involving separate cognitive processes. These dimensions may not necessarily mutually reinforce each other. We contend that a more comprehensive model that encompasses the full scope of the creativity construct is needed.

Cultural Variations in Evaluation of Creative Work: A Comparison of Russian and Emirati Samples

The study investigates how cultural variations influence evaluation of creative work. Russian and Emirati undergraduate college students were asked to judge alien creature drawings produced by their country mates in previous studies’ structured imagination test. We found cultural differences in creativity judgment. Emirati participants’ judgments were significantly lower than Russian participants’ judgments. We also found that Russians judged their compatriots significantly higher than the Emirati judged their compatriots. Russians also judged foreigners significantly lower than the Emirati judged foreigners. These findings were speculatively placed in the context of the cultural differences in the implicit theory of creativity.

The role of culture on the link between worldviews on nature and psychological health during the COVID-19 pandemic

Worldviews about human's relationship with the natural world play an important role in psychological health. However, very little is currently known regarding the way worldviews about nature are linked with psychological health during a severe natural disaster and how this link may differ according to cultural context. In this study, we measured individual differences in worldviews about nature and psychological health during the 2020 COVID-19 pandemic within two different cultural contexts (Japan and United States). We found that across Japanese and American cultural contexts, holding a harmony-with-nature worldview was positively associated with improved psychological health during the COVID-19 pandemic. We also found that culture moderated the link between mastery-over-nature worldviews and negative affect. Americans showed a stronger link between mastery-over-nature worldviews and negative affect than Japanese. These findings support the biophilia hypothesis and contribute to theories differentiating Japanese and American cultural contexts based on naïve dialecticism and susceptibility to cognitive dissonance.

Left-hemispheric predominance on appropriateness evaluation of restructuring during chunk decomposition problem solving

Restructuring refers to achieving satisfactory solutions by breaking obstacles or forming novel associations in problem-solving. One critical question arises regarding how an appropriate solution is processed in our brain during the restructuring of problem representations. This study aims to explore the electrophysiological correlates of appropriateness evaluation of restructuring by employing a chunk decomposition task. During loose or tight chunk decomposition, participants needed to assess whether they could get a valid solution after probe removal from a source character chunk. As reflected by the late positive complex, the processing of appropriateness exhibited the greatest effect (appropriate vs. inappropriate) in left parietal regions for tight chunk decomposition, but exhibited insignificant differences across most brain regions for loose chunk decomposition. This study provides the first primary electrophysiological evidence that both hemispheres contribute to and the left hemisphere plays a predominant role in evaluating the appropriateness of restructuring in problem solving.

Unleashing the importance of creativity, experience and intellectual capital in the adaptation of export marketing strategy and competitive position

Export marketing strategy has become an exciting research topic in strategic management literature because of its momentous role in sustainable competitive advantage and performance of firms. However, it is not yet recognized what factors enable top management team in adaptation of the export marketing strategy. This research aims to unleash how the intangible skills; creativity, business experience and intellectual capital facilitate marketing managers in adaptation of the expert marketing strategy (product, price, promotion and distribution) that can spur sustainable competitive performance. We collected data from 293 SMEs and used structural equation modeling for testing the hypotheses. The results indicate that the intangible skills; creativity, experience and intellectual capital do not directly contribute to sustainable competitive performance. However, creativity has a significant influence on product, price, promotion and distribution strategy, experience has a significant influence on product, price and promotion strategy and intellectual capital is only a significant predictor of product strategy. In the dimensions of export marketing strategy, product, price and distribution significantly while promotion does not significantly contribute to sustainable competitive performance. Moreover, export marketing strategy adaptation fully mediates the relationship between creativity and sustainable competitive performance as well as between experience and sustainable competitive performance while it does not mediate the path between intellectual capital and sustainable competitive performance. The findings recommend SMEs to emphasize highly skilled marketing staff who have competencies (experience, creative and intellectual) in order to build an effective export marketing strategy-resulting sustainable competitive performance. Further implications are discussed.

Fostering Creativity in Intercultural and Interdisciplinary Teams: The VICTORY Model

Teams are pervasive in the history of mankind. Particularly in our fast-growing modern society, teams composed of members from different cultures and disciplines are quite often used at the workplace. Though widely used, the effectiveness of teams is inconsistent. Meta-analyses report a double-edged effect of diversity on creativity and innovation, suggesting that diversity needs to be tactfully managed if we want to leverage the creative potential of teams. The current paper strives to meet this challenge and makes recommendations on how to foster creativity in intercultural and interdisciplinary teams. It discusses the concepts of teams vs. groups and creativity vs. innovation. Drawing upon sociocultural theories of creativity and innovation, particularly literature reviews and meta-analyses, this paper attempts to identify non-cognitive, cognitive and environmental enablers of team creativity. The VICTORY model offers a summary of these enablers, as it focuses on team (T) and synthesizes both non-cognitive (Vision, Openness, Risk-taking, Yes-I-Can Mindset) and cognitive (Ideation, Combination) antecedents of team creativity. Yet it is only through the combination and integration of environmental factors (including communication, collaboration, and support, among others) that the effect of these antecedents can be fully realized.

How Does Culture Shape Creativity? A Mini-Review

The purpose of this study was to examine how culture shapes creativity by reviewing empirical findings across diverse studies. The impact of culture on creativity is typically manifested in three ways: (1) people from different cultures or settings have distinct implicit and/or explicit conceptions of creativity; (2) individuals from different cultures, particularly those from individualist and collectivist cultures, show differences in preferred creative processes and creative processing modes (e.g., usefulness seems more important than novelty in the East, whereas novelty seems equally important as usefulness, if not more so, in the West) when they are engaged in creative endeavors; (3) creativity may be assessed using different measures based on culture-related contents or materials, and findings are accurate only when culturally appropriate or culturally fair measures are used. Potential implications and future directions are also proposed.

Collectivistic Independence Promotes Group Creativity by Reducing Idea Fixation

The present study examined the joint impact of collectivistic value orientation and independent self-representation of group members upon group creativity. In a laboratory experiment involving three-person student teams ( N = 72), we induced a collectivistic (vs. an individualistic) value orientation and independent (vs. interdependent) self-representation via priming methods. Using a group-brainstorming paradigm, we found as expected that groups generated more original ideas when members combined a collectivistic value orientation with independent self-representation than with interdependent self-representation. By contrast, differences in self-representation did not have a significant effect when an individualistic value orientation was made salient. Furthermore, we found that this effect was mediated by the degree of idea fixation within the group, thereby illuminating the underlying cognitive mechanism of the observed synergy effect. Implications of the findings for research on group creativity and future directions are discussed.

Creativity Alone Does Not Make a Star - Social Attributes of the Nomination of Creative Icons: Results of a Trend Study in Germany

Recent years have witnessed a series of studies of the nomination of the most creative persons using a cross-sectional design. Such studies only provide a “snapshot” of the creativity nomination phenomenon without being able to detect the temporal pattern of the nomination over time. The current study is among the first of such studies that use a time series design. Data were collected from German young adults in 2013 (n = 460, M_age = 28.3, SD = 9.9) and in 2017 (n = 617, M_age = 31.4, SD = 10.6). Consistent patterns emerge from the nomination of the top 10 most creative Germans: (1) Artists are predominantly represented; (2) Male creators are predominantly nominated; (3) Einstein ranks the first in both lists followed by Goethe; (4) Merkel is the only female nominee in both lists. Analysis of all nomination in both years reconfirmed the aesthetic salience and male-dominance and these patterns were more likely to occur in earlier than later nominations. Regression analysis revealed that social contribution (SC) and social acceptance (SA) each mediated the positive relation between creativity and creative fame. Further, the three-path mediation model of creativity on creative fame through SC and SA was also significant for both nomination conditions, with stronger mediating effect on the nomination from the meritorious than the aesthetic areas. Domain-specificity theories and social psychological theories were used to interpret the results.

Person-Environment Fit and Employee Creativity: The Moderating Role of Multicultural Experience

Previous research has demonstrated the positive effects of congruent personal and environmental characteristics on creativity. None of them, however, has tested the formal theory of person-environment fit for predicting creativity in the context of multicultural experiences. This study examined the effects of two versions of person-environment fit (Demands-abilities fit and Needs-supplies fit) on employee creativity in China, taking into account the moderating role of multicultural experiences. The results, based on the data of East Asian Social Survey in the Chinese General Social Survey (CGSS) in 2015, showed employees with demands-abilities fit have lower creativity than those with demands-abilities misfit; nevertheless, the demands-abilities fit creates a growing impact on employee creativity with increasing multicultural experience. Additionally, the higher the needs-supplies fit, the stronger the employee creativity; and, the needs-supplies fit creates a growing impact on employee creativity with increasing multicultural experience. It shows that different versions of person–environment fit have different effects on employee creativity and multicultural experience moderated the effects of person-environment fit on employee creativity. Implications for research and practice are discussed.

A Cross-Cultural Study of the Mediating Role of Implicit Theories of Innovativeness in the Relationship Between Values and Attitudes Toward Innovation

This article presents a cross-cultural study on the mediating role of implicit theories of innovativeness in the relationship between basic values and specific attitudes toward innovation. Modernized samples (399 Russians from Moscow and Novokuznetsk) and more traditional samples (194 Chechens and Ingushs from North Caucasus and 200 Tuvins from the Tuva Republic) within the Russian Federation completed the Schwartz Value Survey (SVS), measures of attitudes toward innovation, and an Adjective Check List adapted for measuring implicit theories of innovativeness in the current samples. Main findings include (a) a split in individual and social aspects of implicit theories of innovativeness, (b) different mediation of the effects of Openness to Change and Conservation values, and (c) differences in mediation models between the two samples. Implications of these findings for cross-cultural studies on innovativeness are discussed.

Novelty and Usefulness Trade-Off: Cultural Cognitive Differences and Creative Idea Evaluation

Creativity and innovation have become critical organizational capabilities in today’s global environment, and leveraging creative potential of employees across various cultural contexts has become increasingly important. Although recognized among researchers, cross-cultural differences in creativity are not yet well understood. We contribute to this line of research by constructing a theoretical model that focuses on cultural differences in cognition (i.e., holistic vs. analytic thinking) that affect the evaluation of creative ideas. The cultural cognition perspective allows us to theorize about the interrelationship between an idea’s novelty and its usefulness. We propose that to the extent there is a trade-off between an idea’s novelty and usefulness, cultural differences in cognition will systematically influence the trade-off relationship such that Easterners will perceive a stronger trade-off between novelty and usefulness as compared with their Western counterparts. Such effects of cultural cognition, however, can be reduced by contextual factors of multicultural exposure, cognitive team diversity, and organizational climate for innovation. Our cultural cognition perspective complements the extant cultural value and social norms perspectives on cross-cultural differences in creativity and innovation.

Creativity Through the Eyes of Professional Artists in Cuba, Germany, and Russia

Creativity plays an important role in the advancement of all societies around the world, yet the role of cultural influences on creativity is still unclear. Following systems theory, activity theory, and ecocultural theory, semistructured interviews with 30 renowned artists (writers, composers, and visual artists) from Cuba, Germany, and Russia were conducted to explore the complexity of the creative process and potential cultural differences. All interviews were transcribed verbatim and analyzed using consensual qualitative research methodology. The following eight main domains resulted from the interviews: How I became an artist, What being an artist means to me, Creating as a cognitive process, Creating as an emotional process, Creating as a motivational process, Fostering factors of creativity, Hindering factors, and The role of culture in creating. Artists in the three countries similarly talked about creativity being a fluid process where ideas change, and elaborated on the role of intuition and the unconscious when creating art. Meaningful cross-cultural differences were seen among the artists of three cultural backgrounds in terms of attitudes about financial instability, in how they perceive themselves, in their art’s societal function, in the cognitive and in the emotional process of creating, and in terms of social connectedness. Results highlight (a) the complexity of the creative process going beyond cognitive factors and including motivational, emotional, and sociocultural factors, and (b) the cultural differences in the creative process. Results are beneficial for further developing a comprehensive theory of the creative process taking cultural differences into consideration.

Culture and decision making

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We review the literature on culture and decision making.

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We comprehensively analyze ten decision making phases.

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Possible causes of cultural differences are reviewed and critiqued.

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Big-picture questions for future research are discussed.

The study of culture and decision making addresses variations in how and why people from different cultures sometimes tend to decide differently. This review is organized around what is intended to be a comprehensive analysis of the distinct fundamental questions that people must answer in the process of making virtually all real-life decisions. Our emphasis was on recent developments as well as identifying important yet neglected topics (e.g., how decision episodes get started—or not, and why some decisions are never implemented). Early as well as current efforts have focused mainly on East Asian and North American Caucasian cultures, with little treatment of other populations. In such studies, individualism and collectivism have been the dominant explanatory factors although related but distinct concepts such as “tightness” and “looseness” have been welcome additions to recent discussions. Throughout, the review emphasizes practical concerns, such as the challenges of intercultural learning and collaboration.

Creativity in Eastern and Western Civilizations: The Lessons of Historiometry

What are the fundamental factors that promote highly influential creativity? How do these factors differ in Western and Far Eastern civilizations? Many researchers have addressed these questions using historiometrics, a method that tests nomothetic hypotheses about human behaviour by subjecting historical and biographical data to objective and quantitative analyses. These investigations may entail either aggregate-level analyses (e.g., generational time series of creative activity) or individual-level analyses (e.g., cross-sectional studies of creative achievement). Moreover, the empirical findings in each of these two approaches fall into two categories of East-West comparisons: (i) shared variables and convergent results and (ii) shared variables and divergent results. After reviewing representative findings in each of these categories, we discuss what the results imply about the nature of high-impact creativity in the East and West and also explore areas of potential future historiometric research.

Culture and the Assessment of Creativity

Laboratory studies of culture and creativity typically rely upon measures of divergent thinking while studies of creativity in organizational settings explicitly define creativity and use subject matter experts as assessors to account for the influence of culture on the assessment of creativity. Yet, little is known about what specific characteristics of a creative idea are considered when creativity is assessed by communities of experts (the field) in different spheres of creative activities (domain). In this article, we review, conceptually analyse, and illustrate using original interview data the influence of culture on the assessment of two commonly examined dimensions of overall creativity, novelty, and usefulness. Using the context of expatriates, we propose a framework, along with propositions, that integrates cultural experience, creativity criteria, and assessor perspectives on creativity assessment. Finally, we discuss ways in which a focus upon the processes underlying creativity assessments could help advance research on culture and creativity.

The collective origins of valued originality: a social identity approach to creativity

Prevailing approaches to individual and group creativity have focused on personal factors that contribute to creative behavior (e.g., personality, intelligence, motivation), and the processes of behaving creatively and appreciating creativity are understood to be largely unrelated. This article uses social identity and self-categorization theories as the basis for a model of creativity that addresses these lacunae by emphasizing the role that groups play in stimulating and shaping creative acts and in determining the reception they are given. We argue that shared social identity (or lack of it) motivates individuals to rise to particular creative challenges and provides a basis for certain forms of creativity to be recognized (or disregarded). Empirical work informed by this approach supports eight novel hypotheses relating to individual, group, and systemic dimensions of the creativity process. These also provide an agenda for future creativity research.

Wanting to Be Great and Better But Not Average

What is the nature of self-evaluation motives? The relativist perspective suggests that self-evaluation motives vary culturally, with self-enhancement developing in Western culture and self-effacement and self-improvement developing in East Asian culture. The universalist perspective suggests that self-enhancement and self-improvement are basic human motives that coexist in the self-system and are prevalent across cultures. We tested the competing perspectives in a cross-cultural study. Chinese and American students rated the degree to which they want to receive four types of feedback (self-enhancing, self-effacing, self-improving, and no-feedback) from four sources (parents, teachers, friends, and classmates). Chinese and Americans (a) overwhelmingly wanted self-enhancing and self-improving feedback more than self-effacing feedback and no-feedback and (b) were uninterested in self-effacing feedback. These findings attest to the universal nature of self-enhancement and self-improvement motives.

Members’ Openness to Experience and Teams’ Creative Performance

Team composition based on personality has been found to have important effects on team outcomes. However, little is still known about the effect of team personality composition on team creativity. To this end, this study examined the relationship of team members’ openness to experience and team creativity. Results from a study with 31 graduate student teams suggest that openness to experience is significantly related to team creativity. Furthermore, teams that are diverse on openness to experience have the highest levels of team creativity, as long as they have some team members that are low on openness and others that have a moderate level of openness to experience.

Creativity

The psychological study of creativity is essential to human progress. If strides are to be made in the sciences, humanities, and arts, we must arrive at a far more detailed understanding of the creative process, its antecedents, and its inhibitors. This review, encompassing most subspecialties in the study of creativity and focusing on twenty-first-century literature, reveals both a growing interest in creativity among psychologists and a growing fragmentation in the field. To be sure, research into the psychology of creativity has grown theoretically and methodologically sophisticated, and researchers have made important contributions from an ever-expanding variety of disciplines. But this expansion has not come without a price. Investigators in one subfield often seem unaware of advances in another. Deeper understanding requires more interdisciplinary research, based on a systems view of creativity that recognizes a variety of interrelated forces operating at multiple levels.