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With the advent of artificial intelligence (AI), the field of creativity faces new opportunities and challenges. This manifesto explores several scenarios of human--machine collaboration on creative tasks and proposes "fundamental laws of generative AI" to reinforce the responsible and ethical use of AI in the creativity field. Four scenarios are proposed and discussed: "Co-Cre-AI-tion," "Organic," "Plagiarism 3.0," and "Shut down," each illustrating different possible futures based on the collaboration between humans and machines. In addition, we have incorporated an AI-generated manifesto that also highlights important themes, ranging from accessibility and ethics to cultural sensitivity. The fundamental laws proposed aim to prevent AIs from generating harmful content and competing directly with humans. Creating labels and laws are also highlighted to ensure responsible use of AIs. The positive future of creativity and AI lies in a harmonious collaboration that can benefit everyone, potentially leading to a new level of creative productivity respecting ethical considerations and human values during the creative process.

This study examined generative artificial intelligences (GenAIs), as popularized by ChatGPT, in standardized creativity tests. Benchmarking GenAI against human performance, the results showed that ChatGPT demonstrated remarkable fluency in content generation, though the creative output was average. The random nature of AI creativity and the dependency on the richness of the training database require a reassessment of traditional creativity metrics, especially for AI. Our findings highlight the integral role humans play in guiding AI to foster genuine originality, suggesting the need for future research in human–AI co-creation and the development of robust AI creativity measurement mechanisms.

Video games play a big part in many individuals’ lives, children and adults alike. A large body of research has investigated both the potential negative and positive effects of video games. This paper examines whether playing video games is positively related to creativity, with a focus on adults' creativity in the workplace. Furthermore, it was posited that this link could be explained through the mediating effect of Psychological Capital (PsyCap). Using a cross-sectional design (N = 370), the results show a full mediation of the link between the frequency of playing video games and creativity, through optimism: playing video games is positively associated with higher optimism, which in turn is associated with more creativity in the workplace.

Both creativity and responsibility are important higher-order skills to develop to meet the challenges of the Anthropocene, and both are related to attentional states of consciousness and to ethics. Meditation is a set of practices that trains attentional and emotional regulation. A few studies have shown that different kinds of meditation can foster different kinds of creative thinking, and others have begun to investigate the effect of the combination of meditation and ethics on ethical characteristics (but not yet on creativity or precisely on responsibility, so far). Here, we present a nonrandomized trial with an active control group among second-year science university students (n = 84) to test the effect of the secular Meditation-Based Ethics of Responsibility (MBER) program on creative potential, self-reported awareness, and sense of one’s own responsibility. The results show a large effect of the program on sense of one’s own responsibility and convergent and divergent creative writing tasks, both in conceptual–semantic and engineering-like verbal ideation. They also suggest that convergent conceptual–semantic thinking might moderate the effect of the MBER program on the awareness and sense of one’s own responsibility. This work opens up new research and educational perspectives linked to necessary behavioral changes in the Anthropocene.

As an artificial space extended from the physical environment, the virtual environment (VE) provides more possibilities for humans to work and be entertained with less physical restrictions. Benefiting from anonymity, one of the important features of VEs, users are able to receive visual stimuli that might differ from the physical environment through digital representations presented in VEs. Avatars and contextual cues in VEs can be considered as digital representations of users and contexts. In this article, we analyzed 21 articles that examined the creativity-boosting effects of different digital user and contextual representations. We summarized the main effects induced by these two digital representations, notably the effect induced by the self-similar avatar, Proteus effect, avatar with Social Identity Cues, priming effect induced by contextual representation, and embodied metaphorical effect. In addition, we examined the influence of immersion on creativity by comparing non-immersive and immersive VEs (i.e., desktop VE and headset VE, respectively). Last, we discussed the roles of embodiment and presence in the creativity in VEs, which were overlooked in the past research.

This paper examines the concept of creative potential as it applies in science. First, conceptual issues concerning the definition of creative potential are explored, highlighting that creative potential is a moving target, and measures of creative potential are estimates of future behavior. Then three main ways to detect creative potential are examined. First, a person’s previous accomplishments in science can be analyzed. These accomplishments can be regarded as predictors of future creative performance. Second, science talent competitions can help to detect creative potential in children and adolescents. There are particular types of talent competitions differing from each other by the extent of focusing on individual (e.g., Science Fairs) or collaborative (e.g., Science Olympiads) work. Third, to measure an individual’s creative potential, psychometric tools such as Creative Scientific Ability Test (C-SAT), Test of Scientific Creativity Animations for Children (TOSCAC), and Evaluation of Potential Creativity (EPoC) can be used. These tools are conceptualized in terms of two scientific activities: hypothesis generation and hypothesis testing. In a final section, these three types of measures are placed in a novel time-space framework as applied to creative potential. Suggestions for future work are also discussed.

The distinction between hard and soft skills has long been a topic of debate in the field of psychology, with hard skills referring to technical or practical abilities, and soft skills relating to interpersonal capabilities. This paper explores the generic composition of any skill, proposing a unified framework that consists of five distinct components: knowledge, active cognition, conation, affection, and sensory-motor abilities. Building upon previous research and theories, such as Hilgard’s “Trilogy of Mind”, the generic skill components approach aims to provide a comprehensive understanding of the structure and composition of any skill, whether hard or soft. By examining these components and their interactions, we can gain a more in-depth understanding of the nature of skills and their development. This approach has several potential applications and implications for various fields, including education, training, and workplace productivity. Further research is needed to refine and expand upon the generic skill components theory, exploring the interactions between the different components, as well as the impact of contextual factors on skill development and use.

This article addresses educational challenges posed by the future of work, examining “21st century skills”, their conception, assessment, and valorization. It focuses in particular on key soft skill competencies known as the “4Cs”: creativity, critical thinking, collaboration, and communication. In a section on each C, we provide an overview of assessment at the level of individual performance, before focusing on the less common assessment of systemic support for the development of the 4Cs that can be measured at the institutional level (i.e., in schools, universities, professional training programs, etc.). We then present the process of official assessment and certification known as “labelization”, suggesting it as a solution both for establishing a publicly trusted assessment of the 4Cs and for promoting their cultural valorization. Next, two variations of the “International Institute for Competency Development’s 21st Century Skills Framework” are presented. The first of these comprehensive systems allows for the assessment and labelization of the extent to which development of the 4Cs is supported by a formal educational program or institution. The second assesses informal educational or training experiences, such as playing a game. We discuss the overlap between the 4Cs and the challenges of teaching and institutionalizing them, both of which may be assisted by adopting a dynamic interactionist model of the 4Cs—playfully entitled “Crea-Critical-Collab-ication”—for pedagogical and policy-promotion purposes. We conclude by briefly discussing opportunities presented by future research and new technologies such as artificial intelligence and virtual reality.

Although soft skills training is called for by many scholars and managers, empirical studies on concrete training programs are scarce and do not always have the methodological rigor that is necessary to draw meaningful conclusions about their impact. In the present research, we investigate the effects of a new soft skills metacognition training program on self-efficacy and adaptive performance. To test these effects, we conducted an experiment with a sample of employees of a large firm (n = 180). The experiment included pre- and post-measurements and a control condition. The results suggested that participating in the training led to an increase in soft skills metacognition, self-efficacy, and four dimensions of adaptive performance, compared to a control condition. Mediation analyses suggested that an increase in soft skills metacognition led to an increase in self-efficacy, which led, in turn, to an increase in adaptive performance. Theoretical and practical implications are discussed, as well as limitations.

In this paper, we address the relationship between the intelligence and creativity constructs, by providing equal-level definitions and a parsimonious description of context, allowing the identification of situations in which either one or the other construct prevails, as well as situations in which they overlap and collaborate. The description of context is performed by introducing the metaphor of the space-time continuum, crossing the dimensions of conceptual space S and available time span T, each one varying in continuity from extreme tightness to extreme looseness. The usefulness of the space-time continuum is not limited to the pure comparison between intelligence and creativity, but it can be extended to specific domains. We consider here design of education systems, management styles in business, and development of a creative identity and career. In each case, conceptual space S and available time T take on different and specific nuances, allowing for an in-depth analysis of situations as well as the design of novel approaches. Several paths for future research are highlighted.

RESUMO Hoje em dia, as pessoas precisam ser capazes de pensar e produzir de forma criativa. Por isso, a estimulação das habilidades criativas constitui um objetivo importante para educadores e profissionais. O estilo parental que inclui práticas cotidianas de educação dos filhos, interações entre pais e filhos voltadas especificamente para a criatividade e percepções sobre a criatividade se relaciona fundamentalmente com o desenvolvimento do potencial criativo. Estes construtos moldam a compreensão das crianças sobre seu ambiente, permitindo-lhes formar uma mentalidade, qualidades pessoais, traços e habilidades que ajudam a determinar atitudes em relação à criatividade. Este estudo preliminar explorou a relação entre o estilo parental e o potencial criativo das crianças. Os pais participantes responderam aos questionários avaliando o nível de estrutura de rigidez nas práticas cotidianas de educação dos filhos, as interações entre pais e filhos especificamente voltadas para a criatividade e as percepções dos pais sobre a autoeficácia criativa de seus filhos. Seus filhos preencheram o instrumento de Avaliação do Potencial Criativo (EPoC), que mede o pensamento convergente e divergente nos domínios gráfico e verbal. Embora não tenhamos encontrado qualquer relação estatisticamente significativa entre o estilo parental e o potencial criativo, várias interações pai-filho se correlacionaram significativamente com as percepções dos pais. Quanto mais os pais incentivam a novidade, mais eles percebem que seus filhos demonstram comportamento criativo. Além disso, apoio excessivo à criatividade direta poderia diminuir certos comportamentos relacionados à criatividade, como a fantasia. Estes achados apoiam a noção de que as atitudes dos pais e os comportamentos interativos são preditores significativos das habilidades criativas dos filhos, sugerindo assim possíveis caminhos para pesquisas e práticas educacionais adicionais para apoiar atividades inovadoras e de descoberta.

Background: Creativity and responsibility are enhanced by meditation among adults, but such effects have not been studied in adolescents. Moreover, the determinants of the ethical effect (such as responsibility) of meditation are unclear. Aims: To address this gap by investigating the impact of digital in‐class meditation programmes in middle school, focusing on intentions (self‐centred vs. responsibility‐centred), on adolescents' creative potential and sense of responsibility. These intentions are operationalized by different purpose‐based meditations. Methods: We conducted a cluster randomized controlled trial involving 107 year 7 adolescents from six classes, assigning them to two experimental groups and an active control group. Pre‐ and post‐intervention assessments were conducted over an 11‐week period, including a creativity (EPoC) test comprising four exercises (graphic and verbal, divergent and convergent thinking), a responsibility and a mindfulness scale. Results: Our findings revealed no discernible effects on divergent thinking or self‐reported mindfulness. However, we observed significant differences in graphic and verbal convergent creative thinking, as well as impacting responsibility scores, between a responsibility‐centred meditation group and a self‐centred meditation group. Moreover, distinctions were noted between control and self‐centred meditation groups and between some classes. Effect sizes indicated that the interventions had a moderate but significant impact on the variables measured. Conclusion: Our study reveals the effectiveness of digital meditation interventions in enhancing convergent creative thinking and responsibility among middle‐school students. Notably, it shed new light on the importance of meditation intentions, which may be as significant as the form of meditation itself. [ABSTRACT FROM AUTHOR]

Este manifiesto, discutido por 20 académicos y académicas que representan diversas líneas de investigación sobre la creatividad, marca un cambio conceptual dentro de los estudios de este campo. Los enfoques socioculturales han hecho contribuciones sustanciales al concepto de creatividad en las últimas décadas y hoy pueden proporcionar un conjunto de propuestas para guiar nuestra comprensión de la investigación anterior y generar nuevas direcciones en investigación y práctica. Estas proposiciones son urgentemente necesarias en respuesta a la transición de una Sociedad de la Información a una Sociedad Post-Información. A través de las proposiciones descritas aquí, nuestro objetivo es construir un terreno común e invitar a la comunidad de investigadores y profesionales de la creatividad a reflexionar, estudiar y cultivar la creatividad como un fenómeno sociocultural.

In this review of emotion, emotional intelligence (EI) and creativity, we look at the various ways that these topics can be explored together using the seven Cs of Creativity as a structuring framework. The seven Cs of creativity are: creators, creating, collaborations, contexts, creations, consumption and curricula, representing the different facets of creativity research. The question of emotion and creativity has a long historical lineage, which has led up to the study of intelligent and dynamic aspects of emotion and their impact on creativity. Previous and emerging work on EI, related emotional aspects and creativity offer promising ways to advance this field of research. However, we show that some aspects of creativity and EI are less explored than others. We offer several implications for the direction of future work.

There is a growing literature concerning robotics and creativity. Although some authors claim that robotics in classrooms may be a promising new tool to address the creativity crisis in school, we often face a lack of theoretical development of the concept of creativity and the mechanisms involved. In this article, we will first provide an overview of existing research using educational robotics to foster creativity. We show that in this line of work the exact mechanisms promoted by robotics activities are rarely discussed. We use a confluence model of creativity to account for the positive effect of designing and coding robots on students' creative output. We focus on the cognitive components of the process of constructing and programming robots within the context of existing models of creative cognition. We address as well the question of the role of meta-reasoning and emergent strategies in the creative process. Then, in the second part of the article, we discuss how the notion of creativity applies to robots themselves in terms of the creative processes that can be embodied in these artificial agents. Ultimately, we argue that considering how robots and humans deal with novelty and solve open-ended tasks could help us to understand better some aspects of the essence of creativity.

In many countries, the COVID-19 pandemic led to a period of lockdown that impacted individuals’ lifestyles, in both professional and personal spheres. New problems and challenges arose, as well as opportunities. Numerous studies have examined the negative effects of lockdown measures, but few have attempted to shine light on the potential positive effects that may come out of these measures. We focused on one particular positive outcome that might have emerged from lockdown: creativity. To this end, this paper compared self-reported professional creativity (Pro-C) and everyday creativity (little-c) before and during lockdown, using a questionnaire-based study conducted on a French sample (N = 1266). We expected participants to be more creative during than prior to lockdown, in both professional and everyday spheres. Regarding Pro-C, we did not see any significant differences between the two comparison points, before and during lockdown. Regarding everyday creativity, we observed a significant increase during lockdown. Furthermore, our results suggest that participants with a lower baseline creativity (before lockdown) benefited more from the situation than those with a higher initial baseline creativity. Our results provide new insights on the impact of lockdown and its positive outcomes. These measures may have inarguably negative consequences on the physical and mental health of many, but their positive impact exists as well.

This article introduces a theoretical framework to conceptualize the dynamics of the phenomenon of creativity, which is then applied to the specific case of scientific missions for the exploration of the universe. Static definitions of creativity are insufficient for this purpose, as they fail to describe states of creative inconclusiveness as well as the time and culture-dependent estimation of the value of the outcomes of a creative process; therefore, a dynamic definition of creativity is introduced, justified, and adopted to build a dynamic creativity framework. Within this framework, creativity episodes are shown to be mutually interconnected through several mechanisms (past and future concatenation, estimation, and exaptation), to form a dynamic universal creativity process (DUCP), the beginning of which can be traced back to the Big Bang of our universe. The DUCP entails several layers of complexity (material, biological, sociocultural, and artificial), showing that creativity is not only a psychological construct for humans but rather a unifying cosmological principle. Context embeddedness is discussed in-depth, introducing a taxonomy based on the concepts of tightness and looseness as applied to conceptual space and time. This theoretical framework is, then, applied to the discussion of the design, realization, and operations of scientific missions for the exploration of the universe, taking as a reference the terminology adopted by the European Space Agency.

We investigated the social representation of fair price of French and English-speaking photographers using the free association method. In two independent studies, we performed a factorial analysis of correspondence of the words provided by the participants as well as a similitude analysis. The results indicated that "fair price" was mainly associated with time, effort and experience level of photographers. Both French- and English-speaking samples made similar associations around the concept of fair price but the order of importance varied. We observed some gender-related differences in both samples, although the relative number of male and female participants must be taken into consideration.

Creativity is conceived as the ability to generate new, original ideas that are meaningful and valuable in their context. Models have often debated the role of divergent and convergent thinking within creativity. This paper focuses on convergent thinking and examines ways that it has been conceptualized and operationalized. It is noted that some of these conceptualizations fit more than others with creative thinking. Finally, examples of new ways to measure convergent thinking for creativity are presented and explained. The Evaluation of Potential Creativity (EpoC) battery is described as a relevant new tool to assess convergent thinking, with a focus on the integrative, original synthesis, which is ultilmately essential to the creative process, and the potential for resulting creative productions. Implications for measuring creativity and education are discussed.

This theoretical article proposes a unified framework of analysis for the constructs of intelligence and creativity. General definitions for intelligence and creativity are provided, allowing fair comparisons between the two context-embedded constructs. A novel taxonomy is introduced to classify the contexts in which intelligent and/or creative behavior can be embedded, in terms of the tightness vs. looseness of the relevant conceptual space S and available time T. These two dimensions are used to form what is identified as the space-time continuum, containing four quadrants: tight space and tight time, loose space and tight time, tight space and loose time, loose space and loose time. The intelligence and creativity constructs can be mapped onto the four quadrants and found to overlap more or less, depending on the context characteristics. Measurement methodologies adapted to the four different quadrants are discussed. The article concludes with a discussion about future research directions based on the proposed theoretical framework, in terms of theories and hypotheses on intelligence and creativity, of eminent personalities and personality traits, as well as its consequences for developmental, educational, and professional environments.

Within the literature on creativity in the arts, some authors have focused on the description of the artistic process (Patrick, 1937; Getzels and Csikszentmihalyi, 1976; Mace and Ward, 2002; Yokochi and Okada, 2005) whereas others have focused on the creative process (Wallas, 1926; Osborn, 1953/1963; Runco and Dow, 1999; Howard et al., 2008). These two types of processes may be, however, somewhat distinct from each other because the creative process is not always dedicated to artistic creation, and productive work in the arts may not always involve creativity, in terms of specifically original thinking. Our goal is to identify the specific nature of the artistic creative process, to determine what are the basic stages of this kind of process. This description can then be integrated in a Creative process Report Diary (CRD; Botella et al., 2017) which allows self-observations in situ when participants are creating.

In the present study we experimentally manipulated language switching among bilinguals who indicated to be more or less habitual language switchers in daily life. Our aim was to investigate the impact of forced language switching on originality of produced ideas during divergent thinking, conditional on the level of habitual language switching. A sample of bilinguals was randomly assigned to perform alternate uses tasks (AUT’s), which explicitly required them to either switch languages, or to use only one language while performing the tasks. We found that those who were instructed to switch languages during the AUT’s were able to generate ideas that were on average more original, than those who were instructed to use only one language during the AUT’s, but only at higher levels of habitual language switching. At low levels of habitual language switching, the effect reversed, and participants who were instructed to use only one language found ideas that were on average more original, than participants who were required to switch languages during the AUT’s. Implications and limitations are discussed.