More than the eye of the beholder: The interplay of person, task, and situation factors in evaluative judgements of creativity

Judging creativity accurately is difficult. Individuals who are involved in product creation tend to overestimate the creativity of their work; individuals not involved lack understanding of the creative process that led to the product under scrutiny. We studied creativity judgements in a tripartite person–task–situation framework. Under high, medium, or no structure conditions and different orders of evaluation, participants (N = 90) rated the creativity and purchase appeal of products created by themselves and others. Accuracy was defined as differences from consensus evaluations of participants not involved in production (N = 30). Moderator analyses suggest that externally set structure of the evaluation process (e.g., using a set of criteria) facilitates the quality of creativity judgement. In unstructured conditions, evaluating one's own product before evaluating a peer's leads to low accuracy, but higher levels of conscientiousness seem to mitigate potentially deleterious effects of lack of structure. Higher levels of openness facilitated accurate creativity judgements of peer-produced products, but not self-produced products. A person–task–situation approach is needed to fully unpack the complexity of processes underlying accurate evaluation of creativity

Creativity and the measurement subclinical psychopathology in the general population: schizotypy, psychoticism, and hypomania

The aims of the study were to investigate the roles of well-known psychopathology measures in predicting creativity, to assess the concepts of a multitrait and single trait understanding, and to evaluate the role of latent measures of hypomania predicting creativity. Following the completion of a battery of questionnaires 203 participants completed 2 creative cognition tasks. Multivariate multiple regression analyses revealed significant effects for both schizotypy and the latent hypomania scales. Critically, these showed that some negatively (introvertive anhedonia, excitement, and social vitality) and others positively (impulsive nonconformity and mood volatility) predicted creativity. These findings suggest future avenues should evaluate the roles of mood, autonomy, and asociality in mediating the link between subclinical psychopathology and creativity. Further, research should both manipulate state and control trait mood when evaluating psychopathology and creativity

TEMPORAL CHARACTERISTICS OF THOMAS FLAIRS ON THE POMMEL AND FLOOR

To perform successfully on any apparatus, gymnasts must execute skills with creativity and virtuosity. Whereas creativity is demonstrated by introducing new skills, combining existing ones, or adapting skills to different apparatuses, virtuosity is expressed by executing skills with exceptional technique (Prassas et al. 2006). The Thomas Flairs (Fig. 1), originally introduced and performed on the pommel horse, have been adapted on other apparatuses including the floor. Understanding the timing of the different phases of the skill and what effect the different physical characteristics of the two apparatuses may impose on that timing, would be valuable to coaches and gymnasts seeking to improve performance, judges evaluating gymnastic routines, and scientists studying motor skills

Teaching principles of network and agent-based models to architecture students

Architectural design is necessarily a situated learning process that continues to be a subject of interest in architectural education. Whether designers should give preference to a functional design product or whether the focus should be centered on creative output are issues that need to be questioned. Given the typically vague descriptions of creativity it is even harder to determine whether design functionality and design creativity should be treated as separate entities. The implications of any preferences made on the methods of assessment are crucial. While teaching is necessarily aligned to design as an experiential learning process, it also requires careful understanding of how knowledge can inform rather than constrain creativity. In evaluating the creativity or even the functionality of a design there are challenges present in accounting for a comprehensive and yet practical framework for assessment. In teaching practices the challenge is to ensure that the assessment process is sufficiently specified without limiting creative explorations. It is argued that through exposing design propositions to internal and external criticism, assessing progress becomes less of a challenge. In this course of development 'creativity' is revealed not as value-neutral but as a product of a social process that is practiced through experiential learning

Organizational creativity as idea work: Intertextual placing and legitimating imaginings in media development and oil exploration

How do we understand the nature of organizational creativity when dealing with complex, composite ideas rather than singular ones? In response to this question, we problematize assumptions of the linearity of creative processes and the singularity of ideas in mainstream creativity theory. We draw on the work of Bakhtin and longitudinal research in two contrasting cases: developing hydrocarbon prospects and concepts for films and TV series. From these two cases, we highlight two forms of work on ideas: (i) intertextual placing, whereby focal ideas are constituted by being connected to other elements in a larger idea field; and (ii) legitimating imaginings, where ideas of what to do are linked to ideas of what is worth doing and becoming. This ongoing constitution and legitimating is not confined to particular stages but takes place in practices of generating, connecting, communicating, evaluating and reshaping ideas, which we call idea work. The article contributes to a better understanding of the processual character of creativity and the deeply intertextual nature of ideas, including the multiplicity of idea content and shifting parts–whole relationships. Idea work also serves to explore the neglected role of co-optative power in creativity

THOMAS FLAIRES ON THE POMMEL AND FLOOR: A CASE STUDY

To win bonus points, gymnasts must execute skills with creativity, virtuosity, and consistency. Creativity is demonstrated by introducing new skills, combining existing ones, or adapting skills that were initially performed in a particular apparatus to other ones. Virtuosity is expressed by executing skills with exceptional technique. The Thomas Flaires (circles performed with the legs split as shown in Figure 1) were originally introduced and performed on the pommel horse, but have since been adapted on other apparatuses including the floor exercises and parallel bars. Understanding the complexity by which consecutive Thomas Flaires are performed and what effect—if any—the different physical characteristics of the two apparatuses may impose on the execution of the skill would be valuable to coaches and gymnasts seeking to improve performance, judges evaluating gymnastics routines, and scientists studying motor skills

Critical Reflection and Pastoral Creativity: The Pilgrim Way of the People of God

Critical reflection and pastoral creativity are important orientations for mission. They involve being authentically present to a pastoral situation, appropriating relevant data, understanding with mind and heart, evaluating through purifying foundational beliefs, and formulating pastorally-sensitive and creative responses. It is a process that requires pastoral workers to be contemplatives-in-action as lifelong co-learners, connecting more deeply with God, self, others, and the context. This is in turn integral to synodality and communal discernment, and characterizes the pilgrim way of the people of God

A Standardised Procedure for Evaluating Creative Systems: Computational Creativity Evaluation Based on What it is to be Creative

Computational creativity is a flourishing research area, with a variety of creative systems being produced and developed. Creativity evaluation has not kept pace with system development with an evident lack of systematic evaluation of the creativity of these systems in the literature. This is partially due to difficulties in defining what it means for a computer to be creative; indeed, there is no consensus on this for human creativity, let alone its computational equivalent. This paper proposes a Standardised Procedure for Evaluating Creative Systems (SPECS). SPECS is a three-step process: stating what it means for a particular computational system to be creative, deriving and performing tests based on these statements. To assist this process, the paper offers a collection of key components of creativity, identified empirically from discussions of human and computational creativity. Using this approach, the SPECS methodology is demonstrated through a comparative case study evaluating computational creativity systems that improvise music