<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> 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> 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>This paper proposes a model, which hopefully will allow researchers in the psychology of creativity to confirm that the different levels and different labels for problem finding can be unified under one construct - problem finding (PF). Although no clear distinctions are made among the levels and terms used in the PF literature, the current efforts suggest that there are important differences that can be explained by (a) how well- or ill-defined a problem is, and (b) the degree to which ideation and evaluation are required. Based on these two criteria, a rubric is presented that allows distinctions to be made among five the PF processes: (a) problem discovery, (b) problem formulation, (c) problem construction, (d) problem identification, and (e) problem definition. The authors examined the literature on PF in English from 1960 to 2015 using the following databases: (a) Academic Search Premier, (b) PsycARTICLES, (c) PsycINFO, (d) Dissertation Abstract, (e) Educational Resources Information Center (ERIC), (f) Psychology &amp; Behavioral Science Collection, and (g) the Google Scholar. This search resulted in 199 articles in which at least 13 different terms were used to describe the process of finding a problem. Only a few articles endeavored to distinguish among the terms used in the literature. This paper concludes by suggesting that one term (i.e., problem finding) is to be used to avoid confusion. If this is not possible, for whatever reason, the term used instead should be defined and the reasons for the choice of terms clearly stated.</abstract>

The Creative Problem Finding Hierarchy: A Suggested Model for Understanding Problem Finding

<abstract><title style='display:none'>Abstract</title><bold>Context</bold>. Teachers’ creative self-efficacy (CSE), or personal beliefs about one’s own abilities to recognize and produce creative outcomes, is believed to be one of the factors that support creativity in the classroom and is connected to general self-esteem.<bold>Objectives and design</bold>. In the present paper, two studies were conducted to map Estonian teachers’ CSE and the factors, beliefs and attitudes towards creativity that are related to it, as well as how teachers transfer their CSE into their everyday activities in the classroom. In the first study, Estonian adaptation of Rubenstein et al. (2013) Teaching for Creativity Scales and Rosenberg Self-Esteem Scale (Pullmann &amp; Allik, 2000) were used. The second study was based on a qualitative analysis, using in-service teachers’ self-reports focusing on their teaching practices.<bold>Main outcomes</bold>. As a result of both studies, a framework for understanding teachers’ CSE is proposed, where self-esteem and perceived societal value of creativity are associated with the manifestation of CSE in the classroom, which in turn transfers into enhancing creativity through teaching for creativity and creative teaching.</abstract>

Teachers’ Creative Self-Efficacy, Self-Esteem, and Creative Teaching in Estonia: a Framework for Understanding Teachers’ Creativity-Supportive Behaviour

<abstract><title style='display:none'>Abstract</title>The aim of this paper is to weigh the empirical and hypothetical evidence to assess the claim that imaginative play supports the acquisition and development of social and emotional competence. We analyse children’s play and social skills using a development-based perspective. On this basis, we describe the developmental trajectories of imaginative play and the components of socio-emotional competence during childhood, especially in the pre-school period. In addition, we review the research literature on the possible link between imaginative play and creativity in children, and on how this type of play is predictive of later life creativity. Finally, we discuss hypothetical mechanisms that may account for the relationship between imaginative play and social competence in the preschool years and beyond.</abstract>

Potential Mechanisms Underlying the Impact of Imaginative Play on Socio-Emotional Development in Childhood

<abstract>
<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.
</abstract>

Artists’ and Creators’ Reframed Relationship with Nature Since the COVID-19 Pandemic

<abstract>
<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.
</abstract>

When Language is Played: Looking into Linguistic Creativity through Language Play

<abstract>
<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.
</abstract>

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.
</abstract>

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>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,...