Linking Creativity with Psychological Type. Unpublished master's project, International Center for Studies in Creativity, Buffalo State College- State University of New York. (original) (raw)
Related papers
Linking Creativity with Psychological Type
This project reviews the author's discoveries linking creativity with psychological type and Keirsey's Temperament theory. These form the foundation of her newly published work. Creativity and Personality Type: Tools for Understandingand Inspiring the Many Voices of Creativity Facilitators often design and lead creative problem solving sessions that match their own style without awareness that group and client needs may be different. When that occurs, participants are less able to fully engage. Cognitive process and motivational drives described though psychological type and Temperament frameworks show how this may be so. Recommendations are given for facilitators to maximize their impact in meaningful, responsible and strategic ways. This project also documents the journey of writing the book including the nuts-and-bolts stages, key learnings and insights into personal creativity.
Linking Creativity And Psychological Type
2001
This project reviews the author's discoveries linking creativity with psychological type and Keirsey's Temperament theory. These form the foundation of her newly published work. Creativity and Personality Type: Tools for Understandingand Inspiring the Many Voices of Creativity Facilitators often design and lead creative problem solving sessions that match their own style without awareness that group and client needs may be different. When that occurs, participants are less able to fully engage. Cognitive process and motivational drives described though psychological type and Temperament frameworks show how this may be so. Recommendations are given for facilitators to maximize their impact in meaningful, responsible and strategic ways. This project also documents the journey of writing the book including the nuts-and-bolts stages, key learnings and insights into personal creativity.
Examining the Relationship between Personality Traits and Creativity Styles
Creativity and Innovation Management, 2009
The purpose of this study was to explore the relationship between individuals' expressed preferences for stages within the creative process (i.e., problem clarification, idea generation, solution development and implementation planning) and their personality traits. To explore these relationships, 137 participants in a leadership development program completed two paper-and-pencil measures. Creative process preferences were assessed through a measure called FourSight, while personality traits were measured through the DiSC Personal Profile System. Statistical analysis showed that the strongest relationships between the FourSight and the DiSC were produced by the Clarifier and Ideator preferences. Based on the relationships between the Clarifier preference and the DiSC it would seem that problem clarification is associated with tendencies to be cautious, careful, analytical, accurate and tactful. In contrast, those who express strong preference for the idea generation stage of the creative process are likely to show such traits as willingness to challenge prevailing thought, need for change and attraction to variety. Additional relationships between the creative process and personality are described, along with theoretical and practical implications. S ince at least the 1990s, reports on the skills necessary to be successful in the workplace have cited creative thinking and problem solving among those most crucial in the changing landscape of organizational life (Carnevale, Gainer & Meltzer, 1990; SCANS Commission, 1991; Partnership for 21 st Century Skills, 2008). Though the recent interest among those in business has intensified, the view that creative thinking plays a critical role in industry is not new. In a book published more than 50 years ago, Osborn (1953) outlined the strategies he developed within his advertising firm to facilitate the creative thinking of others. Since Osborn introduced Creative Problem Solving (CPS), a creative process model designed to assist individuals and teams in resolving complex problems, this process model has been subjected to ongoing research and revision (see Isaksen & Treffin
Chapter I: Definition: Creativity: Process, Personality
mediastudies.press eBooks, 2023
Process and Personality, originally deposited in 1964 at brandeis university, is in the public domain. Published by mediastudies.press in the public domain series Original formatting, spelling, and citation styles retained throughout, with occasional [sic] to indicate an uncorrected error. mediastudies.press | 414 W. Broad St., Bethlehem, PA 18018, USA New materials are licensed under a Creative Commons Attribution-Noncommercial 4.0 (cc by-nc 4.0
The present work proposes an integrative model of creativity that includes personality traits and cognitive processes. This model hypothesizes that three high-order personality factors predict two main process factors, which in turn predict intensity and achievement of creative activities. The personality factors are: Plasticity (high openness, extraversion, energy, and inspiration), Divergence (low agreeableness and conscientiousness, high nonconformity and impulsivity), and Convergence (high ambition, precision, persistence, and critical sense). The process factors are Generation (idea production and originality) and Selection (idea evaluation and formalization). We hypothesized and found that: (a) Plasticity and Divergence predict positively Generation, (b) Convergence predicts positively Selection, (c) Generation, Selection, and their interaction predict positively both intensity and achievement of everyday creative activities.
Perspectives on the Social Psychology of Creativity
The Journal of Creative Behavior, 2012
Scholars began serious study into the social psychology of creativity about 25 years after the field of creativity research had taken root. Over the past 35 years, examination of social and environment influences on creativity has become increasingly vigorous, with broad implications for the psychology of human performance, and with applications to education, business, and beyond. In this article, we revisit the origins of the social psychology of creativity, trace its arc, and suggest directions for its future. Many laypersons still view creativity as purely a product of individual talents and traits. For a long while, most creativity researchers seemed to hold the same view. Even though J. P. Guilford's landmark address to the American Psychological Association in 1950 (Guilford, 1950) exhorted researchers to seriously dig into creativity as a cognitive and social process as well as a personality trait, the field stayed rather narrow for many years. In the 1950s, 1960s, and early 1970s, the predominant impression that a reader of the literature would glean was something like this: creativity is a quality of the person; most people lack that quality; people who possess the qualitygeniusesare different from everyone else, in talent and personality; we must identify, nurture, appreciate, and protect the creatives among us-but, aside from that, there isn't much we can do. That, at least, is the impression that the first author of this paper, Teresa Amabile, formed when, in her Stanford psychology graduate program in the mid-1970s, she explored the literature out of a long-standing curiosity about creativity. The most prominent creativity research of the time involved deep psychological study of widelyrecognized creators in fields such as architecture, mathematics, and creative writing, comparing them to less-accomplished peers. These landmark studies by Donald MacKinnon, Frank Barron, and their colleagues at the Institute for Personality Assessment and Research at Berkeley were fascinating (e.g., Barron, 1961; MacKinnon, 1965). They identified some clear differences in backgrounds, abilities, andespeciallypersonalities between the more-and the less-creative groups. Another giant in the field, E. Paul Torrance, had been busy putting these insights to practical use. By the early 1960s, the field seemed to converge around a definition of creativity as the production of novel, appropriate ideas or works. Leveraging this solid
Personality and thinking style in different creative domains
Psychology of Aesthetics, Creativity, and the Arts, 2010
The crucial aspect of creativity in both personality and thinking style may be the ability or tendency to change within personality traits, such as, for example, moving between extraversion and introversion, and within thinking styles, such as moving between heuristic and algorithmic thinking. Such mobility is characteristic of the "complex" personality. On personality and thinking style tests, complexity would be expected to manifest itself in greater variability of responses to items measuring the same overall trait. This issue was investigated with 158 visual art, 136 music, and 309 psychology students. Art students (visual art and music students) showed greater complexity in conscientiousness than psychology and music students, respectively. Visual art students further showed a greater overall complexity (mean complexities across personality and thinking style) than psychology students did. A more traditional analysis revealed that visual art students were more neurotic, more open to experience and more inclined to heuristic thinking than psychology students do, whereas music students were more extraverted and more agreeable than visual art students were, and more inclined to heuristic thinking than psychology students were. Thus, it was possible to distinguish visual art students from music and psychology students by their personality and thinking style.
Creative Personality: The Importance of an Autonomous Working Style
Creativity in Educational Research and Practice, 2014
Creativity plays an important role in education and on the job market. In this perspective, the present study addresses the personality profile of creative people in specific domains of achievement. Literature on creativity is predominantly based on the analysis of psychology students, artists and scientists. The question which emerges from the current state of the art concerns the ability to generalize these findings. Hence, the current study examines additional professional subsamples in terms of their creative personality. The sample consists of 176 participants (109 women, 66 men, MAge = 24.47, SD = 3.52, age range: 19-39 years). In the general sample, only the correlation between creativity and autonomy was significant (r = .16, p < .05). In the sample of psychologists, this correlation was stronger (r = .57, p < .01). These results suggest the importance of fostering an autonomous working style.
Personality and creativity: The dual pathway to creativity model and a research agenda
2013
To better understand the relation between personality traits and creativity, we invoke the Dual-Pathway to Creativity model (DPCM) that identifies two pathways to creative outcomes: (1) flexible processing of information (cognitive flexibility) and (2) persistent probing, and systematically and incrementally combining elements and possibilities (cognitive persistence). DPCM further proposes that dispositional or situational variables may influence creativity through either their effects on flexibility or persistence. Here, we propose the idea that approach-related traits (e.g., openness to experience, extraversion, positive affectivity, and power-motivation) may lead to greater creativity because they link to enhanced cognitive flexibility, whereas avoidance-related traits (e.g., negative affectivity and neuroticism) under the right circumstances may lead to greater creativity because they link to enhanced cognitive persistence. Empirical support for this proposition is discussed, and a research agenda for future work on personality and creativity is set.