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The role of metacognition in creative thinking is beyond doubt, but, so far, most research has focused on just one metacognitive subcomponent – monitoring, especially idea evaluation. Less is known about the role of metacognitive knowledge and control. Here, we present an extended theoretical conceptualization of creative metacognition that distinguishes metacognitive processes associated with pre-task, during-task, and post-task phases, followed by an empirical examination of this process-oriented approach based on an online study (N = 425). We examine effects of creative knowledge, monitoring (metacognitive feelings and discernment of others’ ideas), and control on creative performance and explore relationships with surface (creative self-concept) and core personality characteristics (openness, narcissism). Our findings indicate the involvement of various predicted metacognitive processes in creative ideation and thereby provide initial empirical support for the proposed model of creative metacognition.

Myths about creativity and neuroscience keep contributing to their vague public conception despite growing scientific understanding of these complex areas. This study examined the prevalence of known creativity and neuroscience myths across six culturally diverse countries and explored why some people believe in them more than others. Results revealed persistent, widespread biases in the public conception of creativity and neuroscience, such as attributing creative achievements to spontaneity and chance rather than persistence and expertise or approving the facilitating effects of learning styles. Firmer belief in creativity myths was related to lower education, stronger reliance on undependable sources, and personality traits reflecting the willingness to accept questionable notions and to rely on opinions of others. Believing in myths was also related to endorsing facts, reflecting a tendency to support scientific-sounding statements. The findings highlight the need for better communication of evidence-based knowledge.

Self-report scales have become the most widely used instruments to capture people's self-perception of creativity. Previous studies, however, provided only a limited insight into the psychometric properties of such measures. This paper reports an extensive item response theory (IRT) analysis of the Short Scale of Creative Self (SSCS): one of the most frequently used scales of creative self-concept. Based on samples from 14 studies (overall N > 26,000), we report IRT parameters of creative self-efficacy and creative personal identity scales' items. We examined whether the scores obtained in the SSCS depend on the length of the response scale (5-versus-7-point Likert scales) and whether latent scores are comparable across different data collection methods (online, paper-and-pencil, phone), age, and gender. The results confirmed the two-factor structure of the SSCS, good psychometric properties of its items, as well as invariance regarding response scales, age, gender, and method of data collection. At the same time, the items (and consequently--scales) were easy in the psychometrical sense, thus providing much more reliable scores among individuals who scored low or medium in creative self-concept. Longer (7-point) and shorter (5-point) Likert scales performed similarly, with some psychometric arguments favoring fewer points on the scale. Gender differences were negligible (Cohen's d between 0.00 and 0.01). We discuss potential ways of further improvement and development of the SSCS.

This study provides an empirical test of the relationship between creative potential, mating, and reproductive success in a sample using natural methods of fertility control: the Meru tribe living in the regions of Laare and Mutuati in Kenya. The participants (N = 133; 65 females) solved a figural creativity test (the Test of Creative Thinking--Drawing Production, TCT-DP) and provided information about the number of spouses, children, length of their schooling, as well as wealth. Analyses demonstrated that creative potential negatively predicted the number of offspring, but this relation was fully mediated by the number of spouses: more creative people more often stayed single and did not have offspring. The theoretical consequences of these findings are discussed in light of the evolutionary psychology of creativity.

The present study explored the public conceptualization of creativity on Twitter through co-listed hashtags associated with #creativity in a million tweets. Exploratory Graph Analysis was used to identify a network of semantic clusters, and a pre-trained language model yielded the sentiment of the underlying tweets. The semantic clusters reflect well-known everyday creative domains focused on visual and digital arts, storytelling, and handicraft. Other clusters paid tribute to the role of mind-sets, teams, and imagination, feature business and innovation, and stress the importance of creativity for mental health. In addition, we compared the resulting network to one of #innovation, which had a higher prevalence of technological clusters relating to areas of digital transformation. Both networks are vastly positive, suggesting that the exhibition of potential and success outweighs tweeting about obstacles and failure. Our study provides a bottom-up socio-cultural snapshot of lay conceptualizations of creativity, highlighting commonalities and differences with theorized conceptualizations. [ABSTRACT FROM AUTHOR]

This manifesto, discussed by 20 scholars, representing diverse lines of creativity research, marks a conceptual shift within the field. Socio-cultural approaches have made substantial contributions to the concept of creativity over recent decades and today can provide a set of propositions to guide our understanding of past research and to generate new directions of inquiry and practice. These propositions are urgently needed in response to the transition from the Information Society to the Post-Information Society. Through the propositions outlined here, we aim to build common ground and invite the community of creativity researchers and practitioners to reflect up, study, and cultivate creativity as a socio-cultural phenomenon.

The aim of the article was to investigate how the family life of highly creative individuals--mainly marriages or romantic relationships--is related to their sense of success and well-being. Previous studies have led to conflicting conclusions. The predominant finding has been that marriage and family constitute an obstacle to creative potential development. Other studies have demonstrated that, regardless of gender, creators lead satisfying family lives, which contributes to their well-being. The study presented in this paper is based on the grounded theory methodology and triangulates two sources: interviews with prominent creators from the USA conducted years ago (Csikszentmihalyi, 1996, N = 91) and interviews with recognized contemporary Polish artists and scientists (N = 34). Based on interactions between the interviewees' perception of themselves as creators and their perception of gender and family roles, the authors identify and discuss five types of relationship between creators' family life and work. They also discuss the factors that hinder or facilitate creators' satisfactory functioning in both areas in each of the five types of relationship.

For decades, creativity scholars have been interested in exploring the relationship between creativity and learning. Much of the empirical work in this area has focused on examining correlational links between domain general outcomes of creativity tests and results in school achievement tests. The results of such work have been somewhat variable, but generally suggests a positive albeit modest relationship between creativity and learning. Few studies have examined the relationship between creativity and learning using a more tailored and domain-specific assessment. This paper proposes a new approach to studying creativity and learning using a newly developed Creativity and Learning in School Achievement Test (CLISAT). The first wave of a large cross-sequential study (N = 2,372), which uses the CLISAT is reported. More specifically, a continuum for conceptualizing the assessment of creativity and learning is introduced, the CLISAT validity and reliability are reported, and its relationship with intelligence and divergent thinking is explored. The CLISAT scores are also used to examine a variety of nuanced relationships between academic achievement and creativity in two academic domains (math and language). Implications for theory development and future research are discussed.

This article investigates how Big Five personality traits are related to creative achievements and lawbreaking behavior in a large sample (N = 1669) of Polish adults. Structural equation modelling with personality modelled as a bi-factor structure demonstrated a weak, yet significant link (r = .21) between latent factors of creative achievements and lawbreaking behavior. A general factor of personality was unrelated to creative achievement, but negatively linked to lawbreaking behavior. Lawbreaking behavior was also negatively predicted by conscientiousness and agreeableness, while only openness positively predicted creative achievement. A person-centered analysis illustrated three distinct personality profiles: resilient, undercontrolled, and overcontrolled that differed in both lawbreaking behavior and creative achievements., Author(s): Izabela Lebuda [sup.1] , Maciej Karwowski [sup.1] , Adrianne John R. Galang [sup.2] [sup.3] , Grzegorz Szumski [sup.4] , Anna Firkowska-Mankiewicz [sup.5] Author Affiliations: (1) grid.8505.8, 0000 0001 1010 [...]