ABSTRACTIn the current research, we developed and tested a Cyber Malevolent Creativity Behavior Scale (CMCBS), which contains 11 items in three dimensions and aims to measure the degree of individuals' cyber malevolent creativity through malevolent creative behaviors in their lives. The results revealed satisfactory reliability with Cronbach's α coefficient of 0.749 for the overall scale. Specifically, the calculated values were 0.681 for cybershaming, 0.799 for technology abuse, and 0.644 for information manipulation. Data were collected utilizing an online survey (N = 988) in the form of a questionnaire. Using exploratory factor analysis and confirmatory factor analysis, the questionnaire's latent structure and contribution of relevant correlates for explaining cyber malevolent creativity were examined. The CMCBS was significantly and positively correlated with the Malevolent Creativity Behavior Scale, Buss–Perry Aggression Questionnaire, and the Cyberbullying Inventory. This, along with the adequate psychometric properties uncovered here, indicates that it is a useful tool for research on cyber malevolent creativity.

ABSTRACT Automated scoring is a current hot topic in creativity research. However, most research has focused on the English language and popular verbal creative thinking tasks, such as the alternate uses task. Therefore, in this study, we present a large language model approach for automated scoring of a scientific creative thinking task that assesses divergent ideation in experimental tasks in the German language. Participants are required to generate alternative explanations for an empirical observation. This work analyzed a total of 13,423 unique responses. To predict human ratings of originality, we used XLM‐RoBERTa (Cross‐lingual Language Model‐RoBERTa), a large, multilingual model. The prediction model was trained on 9,400 responses. Results showed a strong correlation between model predictions and human ratings in a held‐out test set ( n = 2,682; r = 0.80; CI‐95% [0.79, 0.81]). These promising findings underscore the potential of large language models for automated scoring of scientific creative thinking in the German language. We encourage researchers to further investigate automated scoring of other domain‐specific creative thinking tasks.

ABSTRACTEmployee creativity is essential for contemporary companies to survive and gain competitive advantages. Although previous studies have made efforts to identify organizational factors that improve or hinder employee creativity, a better understanding is still needed regarding the differences between radical and incremental creativity, especially the different mechanisms of how organizational factors impact two types of creativity. To address this issue, we aim to provide a systematic review through which to identify different antecedents that affect radical and incremental creativity, respectively, based on componential theory of creativity. At first, we clarified the definitions and measurements of radical and incremental creativity. Then, we categorized the antecedents of radical and incremental creativity to develop an integrative framework. Last but not least, we identified the different organizational factors regarding how to improve radical and incremental creativity. We also address several future research directions.

ABSTRACTLittle is known about creativity in old age. The aim of this study was to investigate to what extent the intensity of engaging in creative activities differs between older and younger people as well as older people with and without cognitive impairment. Moreover, we evaluated associations of creative activities with specific cognitive abilities. For this cross‐sectional study, groups of younger people (n = 24), older cognitively healthy people (n = 24), and older cognitively impaired people (n = 23) were recruited via convenience sampling. Creative activities were assessed via the creative behavior inventory (CBI). Cognitive abilities were assessed via trail making test (TMT), standard progressive matrices (SPM), creative reasoning task (CRT), test of creative thinking‐drawing production (TCT‐DP), and alternate uses task (AUT). The intensity of engaging in creative activities was higher among younger people but was not significantly associated with being cognitively impaired. Only two cognitive abilities, the creative thinking scores CRT‐Components and TCT‐DP‐Original, predicted creative activities. Both did not differ significantly between cognitively healthy and cognitively impaired older adults. The findings suggest that cognitively impaired older people still engage in creative activities, which might be due to their relatively sound creative thinking. Further studies should investigate whether engaging in creative activities can mitigate cognitive decline.

ABSTRACTCriticism has been raised about creativity researchers narrowing their focus solely to the cognitive processes within individuals. To address these concerns, this case study seeks to expand the scope of creativity research by delving into metacognitive, motivational, and emotional processes involved in collaborative creative problem‐solving. The present study applies the concepts of self‐regulation, co‐regulation, and socially shared regulation to a real‐world case study: the documentary The Beatles: Get Back. Observational footage of the band rehearsing and creating new songs for their live show is analyzed within a socially shared regulation of learning (SSRL) framework. Theory‐driven coding identified individual facets of self‐regulation, co‐regulation, and socially shared regulation during collaborative creative problem‐solving. The analysis revealed initial problems with self‐regulation, especially motivation and emotion regulation, inhibiting collaboration. However, co‐regulatory prompts between group members facilitated a shift toward more productive socially shared regulation where the band collectively negotiated goals, plans and ideas. An examination of spontaneous interactions highlighted the interplay between individual self‐regulation and socially constructed regulation shaping real‐world creative collaboration. Individual metacognitive skills, motivation, and emotions, as well as socially shared group dynamics enabled the members to regulate uncertainty and obstacles in collaborative creative problem‐solving.

ABSTRACTIndividuals and organizations frequently tout creative ideas as a desirable goal, and yet, creative ideas are frequently rejected. Creativity researchers have often suggested that creative ideas are rejected because they are perceived as riskier due to their inherent novelty or originality. Although this assumption is prevalent, we are unaware of any empirical research directly examining the relations between perceptions of novelty and risk. We provide an empirical test of this assumption in two studies in which participants rate the novelty, usefulness, and riskiness of ideas. Across both studies, we find consistent support for the idea that usefulness, rather than novelty, has the strongest relation with risk perceptions. We also find some evidence that novelty and usefulness interact to predict perceptions of risk. Additionally, in Study 2, we find that usefulness has the strongest relation with willingness to invest and buy a product. The findings of this study suggest that the bias against creativity may be driven by the perceived usefulness of an idea, rather than its novelty, such that ideas with lower usefulness are perceived to be riskier.

ABSTRACTThis study delved into the structuring of design briefs and investigated the impact of employing visual analogies compared to text analogies. We aimed to contribute to the growing body of research investigating the role of analogies in design problem‐solving. To do this, we conducted a controlled experiment at a university with 135 undergraduate students exploring analogical reasoning under various conditions, with a particular emphasis on identifying the negative aspects of the design problem. The first goal was to explore the potential of visual and text analogies to enhance design creativity outcomes generated in each condition, focusing on the novelty and usefulness of design solutions. The second goal was to verify whether statistical differences occur between the creative outcomes in visual and text analogy conditions. According to our findings, design briefs containing specific instructions for using text or visual analogies yielded highly novel outcomes. However, when text or visual analogies were prompted by statements concerning negative issues of the design problem, more useful outcomes were generated. Finally, negative statements should be considered when the design aims to improve the features of existing solutions.

ABSTRACTThe present research examines how creative process engagement (information gathering, idea generation, idea evaluation, and idea pitch) influences the affective states of positive affect (PA) and negative affect (NA). Drawing from motivation theory and research, we proposed that creative process behaviors that are more autonomous and less constrained will increase positive affect. Additionally, creative process behaviors that are more likely to be perceived as making negative goal progress are expected to result in higher levels of negative affect. We also examine boundary conditions of these effects including task‐relevant knowledge, perceived performance, and baseline affect. Results from two studies confirm that idea generation, which is considered an autonomous activity, increases PA levels. This effect holds true across varying starting affect levels (excited, calm, and neutral). Moreover, results confirm that information search, which may be perceived as making negative goal progress, increases NA levels and PA levels decrease when task‐relevant knowledge is low. The effects of idea evaluation and idea pitch on PA and NA are mixed across the two studies. The implications of these findings for understanding how the creative process impacts affect are discussed.

ABSTRACTThe historically male‐dominated discourse encompassing artistic creativity has often failed to acknowledge the voices and contributions of women. Female artists continue to face barriers in terms of accessing opportunities, attaining positions of prominence, and earning potential, in comparison with their male counterparts. This inequality is deleterious to female artists and society. Therefore, it is important to understand the relationship between artistic creativity and gender, with a particular emphasis on elite female artistic exemplars. The present qualitative study utilized in‐depth semi‐structured interviews, in accordance with the methodology of Interpretive Phenomenological Analysis, to explore the role of gender in relation to artistic creativity among 10 eminent Australian female visual artists. Findings indicated that participants were affected detrimentally by gender‐based inequality on personal, professional, and sociocultural levels. Their experiences as women, however, also inspired and informed their artistic creativity aesthetically and conceptually. The findings challenge patriarchal conceptualizations of the “male artistic genius” by presenting a female‐focused counternarrative. Implications for educating, supporting, and empowering current and emerging female artists to excel are discussed.

ABSTRACTIn the past decade, creativity researchers have attempted to explore how creative fixed and growth mindsets shape creative outcomes and effort. Previous studies found a strong association between creative mindsets and self‐perceptions. However, research on the relationship between creative mindsets and performance led to mixed results. In an attempt to explain these confusing findings, many advocated the idea that creative mindsets may influence how learners utilize their domain knowledge and skills in creative performance. To empirically test this assumption, we investigated the influence of domain knowledge and skills on the relationship between creative mindsets and performance among college students (n = 125) in the context of ESL/EAL writing. Our results show that a fixed creative mindset, but not growth, together with ESL/EAL writing proficiency contribute to ESL/EAL creative writing performance. We also found that domain‐specific knowledge and skills play a role in how creative mindsets translate to creative performance: while endorsing a fixed mindset was detrimental for students at all ESL/EAL writing proficiency levels, a growth mindset was beneficial at high proficiency levels only. These findings contradict the assumption that cultivating a growth creative mindset will lead to positive creative outcomes for all. Practical implications, limitations, and future research directions are discussed.