<abstract><title style='display:none'>Abstract</title> This paper presents a review of the literature on the measurement of creativity. Creativity definitions are discussed as a starting point for understanding the nature of this construct. The four major approaches to measuring creativity (process, person, product and press) are reviewed, pointing out commonly used instruments as well as the advantages and weaknesses of each approach. This review reveals that the measurement of creativity is an unsettled issue, and that the existing instruments purporting to measure creativity suffer from serious conceptual and psychometric shortcomings. Research gaps and suggestions for future research are discussed.</abstract>

Approaches to Measuring Creativity: A Systematic Literature Review

<abstract><title style='display:none'>Abstract</title>How can creativity be encouraged in schools and what are the educational consequences of doing so? We address this question from a creative learning perspective. Specifically, we open by discussing how this question can be approached from at least two different perspectives: one that positions creativity and academic learning as competing goals and another that conceptualizes these goals as compatible. We discuss how a creative learning perspective helps to reframe this question and clarify the educational consequences of doing so. We close by briefly outlining five considerations for promoting favorable outcomes with respect to encouraging creativity in schools and classrooms.</abstract>

Educational Consequences of Creativity: A Creative Learning Perspective

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<title style='display:none'>Abstract</title>
As communication technology capabilities have improved and the globalization of the workforce has resulted in distributed teams, organizations have been shifting towards virtual teams and virtual meetings over the last decade. This trend has been accelerated with current work-from-home orders due to COVID-19. Even though virtual collaboration has, in the past, been the focus of multiple studies, there are some surprising gaps in our knowledge. For instance, there are few empirical studies examining the impact of virtual devices and tools on creative problem-solving. While there is a substantial body of research on electronic brainstorming and the use of virtual tools for idea generation, less is known about earlier processes such as problem construction or later processes such as idea evaluation and idea selection. Furthermore, as a dynamic process, creativity and innovation is heavily influenced by the people engaged in the process and their collaborative environment, yet there is a gap in the literature regarding the type of virtual tools used in the process (i.e., audio + video <italic>vs.</italic> audio alone, or the use of file-sharing technologies). In this paper, we will review the current literature on virtual teams, virtual meetings, and creativity. We will then explore theoretical frameworks such as media richness theory that can help us understand how virtuality and virtual tools may influence team creativity across the dynamic range of the creative problem-solving process. Finally, given the limited research in the domain of virtual team creativity we provide questions to help guide future research. Research questions will help identify those areas where virtual teams may be beneficial for creativity and areas where virtual teams may be likely to perform less effectively on creative tasks.
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Creativity in Virtual Teams: A Review and Agenda for Future Research

<abstract><title style='display:none'>Abstract</title> Although the creative self-concept is more and more intensively studied in the creativity literature, little is known about its developmental characteristics. In three studies presented in this paper, several hypotheses concerning the development of the creative self-concept are tested. Specifically examined are hypotheses regarding the growing specificity and clarity of the creative self-concept during development (Studies 1 and 2) and changes in it during the lifespan (Study 3).The results show that although the creative selfconcept is formed at about 10 years of age, by 12 years old it remains somewhat poorly clarified. Changes in the creative self-concept are observed mainly in the transition period between late adolescence and early adulthood (when it grows) and medium and late adulthood (when it diminishes). Creativity - a specific interplay between imagination, improvisation, and innovation</abstract>

Development of the Creative Self-Concept

<abstract><title style='display:none'>Abstract</title>In this editorial we discuss the reasons behind choosing social interactions as the theme for this CTRA special issue. We briefly describe the transition in creativity research from a paradigm centered on the individual and his/her intra-psychological predispositions to one focused on the social, systemic approach to creativity in which this phenomenon is not only facilitated or inhibited by social factors, but embedded in and multi-directionally connected to the socio-cultural and material context in which it takes place. We end with a brief description of the contributions to this special issue.</abstract>

Creativity and Social Interactions

<abstract><title style='display:none'>Abstract</title>Is it possible to speak of the <italic>compulsion to create</italic>? And if so, what underlies it? In this article, I set out to offer a comprehensive explanation of what may cause the strong desire for creative activity observable in many artistically-inclined individuals. To describe this desire, I use the term <italic>compulsion to create</italic>, and drawing upon examples from both pop-culture and the lives of famous artists on the one hand, and philosophical and scholarly writings on the other, I seek its sources in the individual’s psyche. I discuss how the compulsion to create depends, among other factors, on an individual’s personality and mental state (in the sense of Sigmund Freud’s and Elaine N. Aron’s theories), transcendental circumstances (in the sense of Carl Jung’s theory) and character traits (as defined by Jordan Peterson). Then, I frame the phenomenon studied within the 4Ps Model of Creativity. I point to a significant correlation between the <italic>compulsion to create</italic> and high levels of an individual’s creativity. Additionally, I discriminate between the notions of the <italic>drive</italic> to create and the <italic>compulsion</italic> to create. The article proposes a definition of the <italic>compulsion to create</italic> which allows for a clear understanding of this notion and its popular application in the field of creatology.</abstract>

The Compulsion to Create: Definition and Genesis of the Phenomenon

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<title style='display:none'>Abstract</title>
This report is part of a wider research project, Reframing Creativity, which studied how the COVID-19 pandemic affected the work and creative practice of professional artists, producers and makers. Here we discuss a specific finding about artists’ and creators’ relationships with nature. After conducting a first round of interviews with 11 participants, we identified that around half of them had talked about having found a valuable connection with nature since the pandemic—even though nature was not a topic in our sequence of questions. This led to a deeper analysis of nature and creativity through a second round of interviews with 11 further participants. For both rounds of interviews, we used a semi-structured questionnaire with a snowball sampling method for recruitment. We conclude that artists and creators developed new meanings and perspectives on their relationship with the outdoors as an unexpected result of the new first-hand experiences they were able to have outside, that is, as a result of the <italic>opportunities</italic> the pandemic enabled. We also argue that creators face an urgent need to find a healthy balance between the unstoppable advancement of digital technologies, accelerated by the pandemic, and the fundamental need to be connected with the natural world. These new creator-nature connections should be fostered, preserved, and researched further.
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Artists’ and Creators’ Reframed Relationship with Nature Since the COVID-19 Pandemic

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<title style='display:none'>Abstract</title>
This article opens a window on linguistic creativity through an in-depth discussion of language play. To this aim, language play is initially conceptualized from a socio-cognitive perspective. ‘Language play for fun’ and ‘language play for practice’ as two dominant approaches in the relevant literature are, then, touched upon. Afterward, the paper elucidates how language play, in its various manifestations, can inform and influence linguistic creativity. In this respect, a theoretical (linguistic) and a socio-pragmatic perspective are presented. In particular, the paper addresses the possibility of playing to ‘language’ outside the box (i.e., to go beyond the conventional systemic constraints of language). Highlighting the ubiquity of language play, it also considers Wittgenstein’s notion of ‘language games’ (or <italic>Sprachspiele</italic>). Furthermore, the performative power of playful creativity to make and ‘unmake’ language in society is elaborated on. The article contends that language play may offer valuable insights to extend the borders of linguistic creativity. This argument is further developed under the purview of ‘complexity theory,’ ‘soft computing,’ and ‘computational linguistic creativity.’ Finally, the paper advocates an ‘integrated science’ approach to advance play-based research on linguistic creativity.
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When Language is Played: Looking into Linguistic Creativity through Language Play

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<title style='display:none'>Abstract</title>
Generating creative ideas takes time: the first idea to come to mind is usually obvious, and people need time to shift strategies, enact executive processes, and evaluate and revise an idea. The present research explored the role of time in creative humor production tasks, which give people a prompt and ask them to create a funny response. A sample of 152 young adults completed four joke stems prompts. Their response times were recorded, and the responses were judged for humor quality (funniness) by six independent judges and by the participants themselves. Mixed-effect models found that, at the within-person level, response time’s link to humor quality diverged for judges and participants. The judges’ ratings of funniness predicted longer response times (relatively funnier responses took longer to create), but participants’ self-ratings of their own responses predicted shorter response times (relatively funnier responses were created faster). Controlling for elaboration (quantified via word count of the response) diminished the effect of judge-rated humor but not participant-rated humor. Taken together, the results suggest that the role of time in humor generation is complex: judges may be weighting elaboration more heavily when judging funniness, whereas participants may be weighting metacognitive cues like ease-of-generation when judging their own ideas.
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Time is a Funny Thing: Response Times and Humor Quality in a Creative Joke Production Task

Reviewers

<abstract>
<title style='display:none'>Abstract</title>
The aim of this study was to examine demographic, ideological, and personality trait correlates of self-assessed creativity. A large group (<italic>N</italic> = 1,299) of adults estimated their creativity score on a 100-point scale. This rating was related to participants’ demographics (sex, age, education), ideology (religious and political beliefs), self-confidence, and six personality traits. The regression indicated that those who thought of themselves as more creative were more optimistic, higher on trait Curious (Open), but lower on trait Adjustment (low Neuroticism) and trait Competitive (low Agreeableness), and had higher self-esteem. The status of self-assessed/estimated creativity is discussed alongside limitations and recommendations for future research.
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Correlates of Self-Assessed Creativity

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<title style='display:none'>Abstract</title>
This commentary invites creativity researchers to address an area that, to date, has received little attention: the effects of dyadic creative activities on early childhood resilience. There is, indeed, a growing body of work on how creative behaviour can contribute to resilience in older children, adolescents, and adults. There is less research on this topic for populations of children aged 3 to 6 years. Yet, young children are particularly dependent upon the bonds they form with their caregivers, notably their parents. The quality of the ties they maintain with them can promote, or on the contrary hinder, their resilience. After presenting the need to foster resilience among young children through dyadic creative activities, the commentary proposes audio recording as a method of investigating this phenomenon. It presents perspectives on the analysis of momentary processes. It concludes with perspectives creative activities at home that researchers can propose to parents and children to address their effects on young children’s resilience.
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Dyadic Parent-Child Creative Activities and Early Childhood Resilience: Audio-recordings and Home Activities as Methodological Propositions

<abstract><title style='display:none'>Abstract</title>Divergent thinking (DT) tests are probably the most commonly used measures of creative potential. Several extensive batteries are available but most research relies on one or two specific tests rather than a complete battery. This may limit generalizations because tests of DT are not equivalent. They are not always highly inter-correlated. Additionally, some DT tests appear to be better than others at eliciting originality. This is critical because originality is vital for creativity. The primary purpose of the present study was to determine which test of DT elicits the most originality. Seven measures of DTwere administered on a sample of 611 participants in eight Arabic countries. The tests were Figural, Titles, Realistic Presented Problems, Realistic Problem Generation, Instances, Uses, and Similarities. The <italic>Quick Test of Convergent Thinking, Runco’s Ideational Behavior Scale</italic>, and a demographic questionnaire were also administered. A linear mixed model analysis confirmed that the originality scores in the DT tests differed by test. Post-hoc tests indicated that the <italic>Titles</italic> and <italic>Realistic Problem Generation</italic> tests produced the highest mean originality scores, whereas the <italic>Realistic Presented Problems</italic> test produced the lowest mean originality scores. These differences confirm that research using only one DT test will not provide generalizable results.</abstract>

Arabian Gulf University, Kingdom of Bahrain

Which Test of Divergent Thinking Is Best?

<abstract><title style='display:none'>Abstract</title> Kim’s CATs framework (2016) identified creative climates (C), attitudes (A) and thinking (T) skills for innovation. Creativity can be measured by testing and non-testing methods. Testing methods include creativity tests for climate, attitude and thinking skills. Among the creativity tests available, two versions of the Torrance Tests of Creative Thinking - Figural and Verbal (TTCT-F and V) are most commonly used. I examined the relationships between the two versions as well as their reliability across gender. From preschool children to adults, 994 participants’ scores on the two versions were used. The results showed that scores on the two versions are significantly related, yet TTCT-F is a more comprehensive, reliable and valid measure of creativity than the TTCT-V.</abstract>

The Torrance Tests of Creative Thinking - Figural or Verbal: Which One Should We Use?

<abstract><title style='display:none'>Abstract</title>What role does creativity play in the social interactions of teaching? The purpose of this brief communication is to address this question by introducing the concept of <italic>creative openings</italic>. Creative openings refer to unexpected breaks in otherwise planned teaching interactions that result in new and meaningful insights, perspectives and understandings. The concept of creative openings builds on recent work that has endeavored to explore how creative thought and action can emerge in the socio-psychological and material interactions of practice. The article opens by briefly introducing creative openings, highlights three key moment (interactional ruptures, interactional responses and interactional outcomes) that researchers can use to examine the trajectory of creative openings. The article closes with a brief example that illustrates these key moments and how they might be represented diagrammatically. Directions for future research are also discussed.</abstract>

Creative Openings in the Social Interactions of Teaching

<abstract><title style='display:none'>Abstract</title> The growing body of creativity research has raised several challenging issues with regard to the measurement of this construct. This paper aims to provide a review of current challenging methodological issues related to measuring creativity. Five methodological issues are discussed: selecting measurement instruments, sampling, testing conditions, psychometric properties and domain-generality/specificity of creativity. This paper reveals that there remain a number of unresolved issues and serious questions surrounding the measurement of creativity. Research gaps and suggestions for future research are discussed.</abstract>

Methodological Issues in Measuring Creativity: A Systematic Literature Review

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Creativity. Theories – Research - Applications

 The journal aims to provide a forum for the discussion of human creativity in all of its complexity - its recognition, correlates, determinants, possibilities for its...

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 The journal aims to provide a forum for the discussion of human creativity in all of its complexity - its recognition, correlates,...