Plucker et al. () Flashcards
Psychometric methods
Typically grouped into four types of investigations: (1) Creative processes, (2) Personality and behavioural correlates of creativity, (3) Characteristics of creative products, and (4) Attributes of creativity-fostering environments. Considered in isolation
Divergent Thinking (DT) tests
Quantify creative process by requiring individuals to produce several responses to a prompt. Emphasis on the quantity of responses, based on the idea of ideational fluency. Responses are scored in terms of (1) Fluency, (2) Originality, (3) Flexibility, and (4) Elaboration
Ideational fluency/simple ideation
The idea that more is better
Fluency
Defined as the number of responses to a given stimulus
Originality
Defined as the uniqueness of responses to stimuli
Flexibility
Defined as the number and/or uniqueness of categories of responses to stimuli
Elaboration
Defined as the extension of ideas within a specific category of responses to stimuli
Literal divergent thinking (LiDT)
Thirteen dimensions to categorise DT test responses. It generalises across DT items whereas traditional flexibility categories vary across DT items. The dimensions assess the actual “divergence” of responses
Guilford’s (1967) SOI model
A major approach to DT assessment. It proposed 24 types of DT; one type for each combination of four kinds of content (figural, symbolic, semantic, behavioural) and six categories of product (units, classes, relations, systems, transformations, implications). Tasks are characterised as needing trial-and-error strategies and flexible thinking
Torrance Test of Creative Thinking (TTCT)
Most commonly used DT assessment, based on aspects of SOI. Includes verbal and figural tests. Administration, scoring, and score reporting are standardised with detailed norms. The original test produced scores in the traditional four DT areas
Creative personality assessments
Focus on characteristics of a person. Typically self-report or external ratings of past behaviour or personality
Personality scales
Usually designed by studying individuals already deemed creative and determining their common characteristics
Openness/Intellect
Two factors, which can be broken into (1) Intellectual engagement, (2) Explicit cognitive ability, (3) Affective engagement, and (4) Aesthetic engagement factors
Creativity Achievement Questionnaire (CAQ)
Assesses creativity with 96 items across 10 domains
Runco Ideational Behaviour Scale (RIBS)
Response to a need for a more appropriate criterion in studies of predictive validity for DT tests. Emphasises ideation
Ideation
The use of, appreciation of, and skill of generating ideas
Kaufman Domains of Creativity Scale (K-DOCS)
Consists of 50 items measuring in five broad domains: (1) Self/Everyday, (2) Scholarly, (3) Performance, (4) Mechanical/Scientific, (5) Artistic
Creative Mindsets Scale
Assesses participant beliefs regarding the fixed vs. growth nature of creativity
Creative products
Get much less attention in literature, et among the most important aspects of creativity assessment. Also addresses measurement problems caused by inconsisten quality of other forms. Probably most appropriate assessment of creativity
Consensual Assessment Technique (CAT)
An attempt to solve the “criterion problem” in creativity research; How do we know we are using the correct criteria of creativity when we design assessments?
Horn and Salvendy (2006) Six component model
(1) Novelty, (2) Resolution (Ability to resolve a problem), (3) Emotion (Pleasure or arousal induced by the product), (4) Centrality (Ability to match consumer needs), (5) Importance (Importance to consumer needs), (6) Desire (How critical or desirable the product is)
Horn and Salvendy (2006) Three-dimensional model
(1) Affect (Emotional draw and feelings toward the product), (2) Importance, and (3) Novelty
KEYS: Assessing the Climate for Creativity instrument
Examines employees’ perceptions of aspects of their work environment that may influence creative work, especially in teams. Self-report instrument designed to assess individual’s perceptions and the influence of those perceptions on creativity
