Creativity and Innovation - final

Remote Associates Test

The Remote Associates Test is a widely used test designed to measure creative thinking and convergent thinking abilities (the ability to link distant concepts). The test involves presenting the participant with a set of three unrelated words, and the goal is to find a single word that associates with all three.

This test works by leveraging associative thinking and cognitive flexibility

It measures:

• Convergent thinking: the ability to find a single solution or link to a problem.

• Creative Insight: The test relies on the ability to form remote associations. This kind of insight is crucial for creative problem-solving, as it involves seeing hidden connections between ideas.

Bloom’s Taxonomy

A framework for categorizing educational goals and learning objectives.

It provides a hierarchical model that describes different levels of cognitive skills and learning, moving from basic to more complex forms of thinking.

This model helps educators structure learning experiences that move from foundational knowledge to deeper, more complex cognitive processes, supporting students in mastering a wide range of intellectual tasks.

The creation step requires creativity.

Geneplore Model (models of cognition)

The Geneplore Model suggests that creativity involves a two-phase process:

• Generative Phase: The individual generates pre-inventive structures, which are raw ideas, mental representations, or partial solutions.

• Exploratory Phase: The generated ideas are evaluated, refined, or transformed into a creative output.

Example: A designer brainstorming multiple rough sketches (generative) and then refining the best one into a final product (exploratory).

The model highlights conceptual expansion (modifying existing concepts in new ways) and analogical thinking (drawing parallels between unrelated ideas), which are essential for creative cognition.

G-factor (general intelligence)

The G factor represents an individual’s overall cognitive ability. It suggests that a person who performs well in one area of cognitive ability is likely to perform well in other cognitive areas as well. It posits that a single, general intelligence is responsible for a wide range of intellectual abilities, such as reasoning, problem-solving, and learning.

The relationship between general intelligence (G) and creativity has been debated. High G suggests strong cognitive abilities, which might help with the processing of creative ideas and solving complex problems. However, creativity involves more than just general intelligence.

Intelligence and IQ

Intelligence is generally defined as the ability to learn, reason, solve problems, and adapt to new situations. In creativity research, intelligence plays a role in creative thinking, but it is not the sole determinant of creative ability. You need a certain amount of intelligence to be creative.

IQ (Intelligence Quotient): IQ is a standardized measure of intelligence that assesses cognitive abilities such as logical reasoning, problem-solving, and verbal and mathematical skills. Traditionally, IQ tests measure convergent thinking (finding a single correct answer), whereas creativity often involves divergent thinking (generating multiple solutions).

Threshold Theory

The Threshold Theory suggests that while intelligence (IQ) is necessary for creativity, beyond a certain IQ level, it no longer strongly predicts creative potential.

• Creativity and intelligence are correlated only up to a certain IQ threshold (typically around 120). After this point, having a higher IQ does not necessarily make a person more creative.

Information processing model

A cognitive framework that explains how individuals perceive, interpret, and respond to information, typically involving stages such as encoding, storage, and retrieval.

short-term memory (working memory): temporary storage with limited capacity (around 7 items) that holds information for around 30s unless actively maintained.

long-term memory: stores vast amounts of information over extended periods and consists of different types of memory systems.

• types of long-term:

  • Semantic: Stores general knowledge and facts. It plays a role in creativity by providing a foundation for making connections between concepts.

  • Procedural: Responsible for skills and habits. These automatic processes free cognitive resources for creative problem-solving.

  • Motor: A subset of procedural memory related to physical movements.

  • Episodic: Stores personal experiences and events. This type of memory can inspire creative storytelling and idea generation.

Depressants - drugs

Alcohol, barbiturates, benzodiazepines.

Depressants slow down the central nervous system and may reduce inhibitions, making individuals feel more relaxed and open to creative thinking. However, excessive use can impair cognitive functions, like memory and attention, which can negatively affect creativity in the long term.

Stimulants - drugs

Caffeine, nicotine, amphetamines

Stimulants increase alertness, energy, and concentration, which may enhance creativity by improving mental performance, speeding up information processing, and heightening focus. However, overuse can lead to anxiety, overstimulation, and cognitive fatigue, which can disrupt creative thinking.

Opiates - drugs

Heroin, morphine

Opiates can create a sense of euphoria and detachment, potentially altering perception and contributing to a temporary sense of creativity. However, chronic use can impair cognitive functions, decrease motivation, and hinder sustained creative thought.

Hallucinogens - drugs

LSD, (magic mushrooms), mescaline

Hallucinogens alter perception and cognition, often leading to novel thought patterns and the ability to make unusual associations, which can enhance creativity. However, they can also cause confusion, anxiety, or unpredictable thinking, which may hinder creative work, especially in high doses or uncontrolled environments.

Utility Patent

• Protects new and useful inventions, such as processes, machines, or compositions of matter.

• Grants exclusive rights for 20 years, promoting innovation and allowing creators to control their inventions.

Design Patent

• Protects the unique visual appearance or design of an item, such as its shape or surface ornamentation.

• Focuses on the aesthetic qualities, not the function of the product, and encourages creativity in design fields like fashion and product development.

Copyright

• Protects original works of authorship, including literary, artistic, musical, and other creative expressions.

• Grants exclusive rights to reproduce, distribute, and display the work, ensuring creators maintain control over their creations.

Trademark

• Protects distinctive names, logos, or symbols that identify and distinguish products or services.

• Helps businesses safeguard their brand identity and assures consumers of product consistency and origin.

Trade Secrets

• Protects confidential business information, such as formulas, strategies, or processes, that give a company a competitive edge.

• Maintained through secrecy rather than registration, ensuring that key business information remains hidden from competitors.

The 4Ds

the 4Ds (deviance, distress, disability, danger) are used to determine if behavior is normal or abnormal. 

DEVIANCE

• Behavior that deviates from social norms or expectations.

• In internet addiction, could involve spending excessive time online to the detriment of socially acceptable responsibilities.

DISTRESS

• The behavior causes significant emotional or psychological distress.

• For example, feeling anxious or irritable when not online or being consumed by guilt about time spent on the internet.

DISSABILITY

• The behavior interferes with daily functioning in key areas such as work, school, or relationships.

• Excessive internet use might result in missed deadlines, academic failures, or strained relationships.

DANGER

• The behavior poses a risk of harm to the individual or others.

• Examples include neglecting health, engaging in unsafe online activities, or developing physical issues like repetitive strain.

Depression

A persistent feeling of sadness, loss of interest, and reduced energy.

• Depression is often associated with rumination, introspection, and emotional depth—all traits sometimes linked to artistic creativity.

• While mild depressive symptoms might occasionally lead to insightful or emotionally rich creative output, major depression generally impairs creativity overall.

Mania

A state of heightened energy, impulsivity, and euphoria, often accompanied by poor judgment.

• can increase idea generation, risk-taking, and the drive to create

• can lead to bursts of creative work

• the work produced during mania is not always coherent or useful

Bipolar Disorder

Condition characterized by alternating episodes of depression and mania

• manic phases may promote ideation, while depressive phases may deepen emotional insight

Alcoholism

Alcoholism is described as a chronic disease characterized by compulsive alcohol consumption despite harmful consequences.

• alcoholism is generally harmful to creativity, impairing cognitive functions like memory, planning, and attention

Schizophrenia

A severe mental illness involving distorted thinking, hallucinations, delusions, and social withdrawal.

• Schizophrenia is associated with disorganized thinking, hallucinations, and delusions.

• functional creativity requires both originality and usefulness—something schizophrenia often disrupts.

The Mad Genius Controversy

The “mad genius” idea refers to the popular belief that exceptional creativity is somehow linked to mental illness, particularly in the arts.

• Most research does not support a strong connection between full-blown psychopathology and high creativity.

• Individuals with mild traits associated with certain disorders may be more likely to engage in creative pursuits

• Successful creative work requires focus, persistence, discipline, and emotional regulation—traits that are often undermined by serious mental illness

• High creativity is more commonly found in people with stable mental health

Affective Disorders

Affective disorders include depression and bipolar disorder. The book finds some links between mild forms or traits of these conditions and creativity, especially in artistic domains. However, severe mood disorders usually hinder creativity, and the most productive creatives tend to have emotional stability combined with openness and persistence.

Emotional Creativity

Emotional creativity is the ability to generate and express original, authentic, and effective emotional responses. It plays a key role in expressive and interpersonal creativity, offering a deeper emotional dimension to how people solve problems, tell stories, or create art.

The book draws especially from the work of Averill, who conceptualized emotional creativity as involving:

• Preparedness (being open to emotional experiences)

• Novelty (generating original emotional responses)

• Effectiveness (producing emotions that are appropriate or valuable)

• Authenticity (staying true to one's internal emotional state)

Suicide

The book notes that some studies have found higher rates of suicide and suicidal ideation among creative professionals.

Creativity itself does not cause suicide, but certain underlying factors, like mood disorders, can both enhance creative output and increase suicide risk.

Creative expression can serve as a protective outlet for many people struggling with mental health challenges.

Writers Die Young

Research supports the notion that writers tend to die younger than others, largely due to increased prevalence of mental health struggles like depression and substance use. Creativity is not the cause of early death, but mental illness is a major contributing factor.

Hypothesis:

• Isolation and solitary work habits

• Introspective focus that can heighten emotional distress

• Less social support than in other creative or professional domains

• Occupational instability and financial pressure

The Price of Greatness

Refers to a statistical profile of eminent creators developed by Simonton. It outlines common traits—like high ability, nonconformity, and persistence—found among historically creative individuals. The concept underscores how a mix of personality, life experiences, and cultural context often contributes to extraordinary creative achievement.

Some of the common characteristics are:

• High cognitive ability

• Nonconformity and independence

• High motivation and persistence

• Come from families with moderate resources

• Often experiences early parental loss or trauma

• Engages in prolific creative output

Stress

Stress can hinder or support creativity, depending on its intensity, duration, and the individual’s coping resources. Chronic stress and poor mental health typically reduce creativity, while short-term or moderate stress may enhance itin resilient individuals.

Yerkes-Dodson law

Yerkes-Dodson law posits that performance increases with arousal (stress, excitement, etc.) up to a certain point, after which it decreases. Optimal performance is achieved at a moderate level of arousal. 

Five Factor Model NEO-PI (OCEAN) test

Also known as the Big Five Personality Traits, it is a widely accepted framework in psychology that identifies five broad dimensions of personality.

Openness (most linked to creativity):

• Reflects an individual's creativity, curiosity, and willingness to explore new ideas and experiences.

• High: People are imaginative, open-minded, and interested in art, culture, and innovation.

• Low: People tend to be more conventional, prefer routine, and are less interested in abstract ideas.

Consciousness:

• Describes an individual's level of organization, dependability, and goal-directed behavior.

• High: Individuals are disciplined, organized, responsible, and have strong work ethics.

• Low: Individuals may be more spontaneous, less organized, and less reliable.

Extraversion:

• Measures the degree to which individuals are outgoing, sociable, and energized by social interactions.

• High: People are energetic, talkative, and thrive in social situations.

• Low People may be more reserved, prefer solitude, and find social interactions draining.

Agreeableness:

• Reflects how cooperative, compassionate, and trusting a person is towards others.

• High: Individuals are empathetic, helpful, and prioritize getting along with others.

• Low: People may be more competitive, skeptical, or confrontational.

Neuroticisms:

• Indicates the tendency to experience negative emotions such as anxiety, moodiness, or emotional instability.

• High: People are prone to stress, worry, and emotional fluctuations.

• Low: Individuals tend to be calm, emotionally resilient, and less affected by stress.

Open-ended and closed-ended tests

Closed-Ended Tests

• Have one correct answer 

• Example: Multiple-choice IQ tests or standardized math questions.

• These tests measure convergent thinking—the ability to arrive at the “right” solution.

Open-Ended Tests

• Allow for many possible answers or solutions.

• Example: "List all the uses you can think of for a paperclip."

• These tests measure divergent thinking—the ability to generate many, varied, or original ideas.

Rorschach Inkblot Test

• A projective test where individuals describe what they see in ambiguous inkblots.

• Originally designed to assess personality and unconscious processes.

• Sometimes used to explore associative richness or originality.

• However, the book lacks consistent reliability and validity for measuring creativity.

Thematic Apperception Test (TAT)

• Participants are shown ambiguous pictures and asked to create stories about them.

• Intended to reveal underlying drives, emotions, and personality traits.

• It can sometimes tap into a person’s imaginative or narrative creativity.

• Still, like the Rorschach, it is not a standard creativity assessment tool because of subjective interpretation and low psychometric rigor.

Real self

who are you actually? Who are you as a person?

an individual's true identity, encompassing their genuine feelings, thoughts, desires, and personality traits, distinct from the social roles or personas they may adopt in different contexts.

Various factors, such as societal pressures, cultural expectations, and personal insecurities, can hinder individuals from connecting with their real self.

Ideal Self

who would you like to be? There are multiple versions of your:

- Present self

- Future self

It encompasses personal goals, aspirations, values, and traits that one considers desirable and worth pursuing.

The ideal self can be shaped by societal expectations, cultural norms, and external influences, such as family, peers, and media. These factors may contribute to unrealistic or unattainable standards.

Ought Self

how much of the things you think you should do comes from you?

refers to the version of oneself that an individual believes they are obligated to be, based on perceived duties, responsibilities, or societal expectations.

influences how individuals view themselves in relation to societal standards and expectations.

The ought self is heavily influenced by societal norms, cultural values, family expectations, and peer pressures.

True Self

Core self that reflects individuals authentic emotions and desires

An individual's most authentic and genuine identity, encompassing their core values, beliefs, feelings, and desires. It represents who a person is at their essence, unfiltered by societal expectations, external influences, or the roles they may play in different contexts

Actual self

Encompasses both real behavior and how others perceive it

It represents how a person perceives themselves in the present, including their strengths, weaknesses, and characteristics.

The actual self is grounded in reality and reflects the true circumstances of an individual's life.

The actual self is not static; it evolves over time as individuals grow, learn, and experience new situations.

False Self

Facade created to please others or protect oneself from criticism

It represents a mask or façade that individuals present to the world, often at the expense of their genuine feelings, desires, and identities.

The false self can affect interpersonal relationships, as individuals may struggle to form genuine connections if they are not presenting their authentic selves.

Private self

Who you are in private

Represents an individual's inner thoughts, feelings, beliefs, and values.

Reflects who a person truly is, often associated with vulnerability and authenticity.

public self

Who you are in public

The persona individuals project to others, influenced by societal norms and expectations.

Often acts as a performance to gain acceptance or approval in social situations.

Can feel inauthentic if there is a significant gap between the public self and the private self, prompting a need for greater alignment.

Future self

an individual's perception of who they might become or hope to be in the future. It encompasses aspirations, goals, and the qualities one wishes to develop over time.

The perception of the future self influences decision-making and behaviors.

self concept

The overall perception and understanding individuals have of themselves.

Self-concept is shaped by various factors, including personal experiences, social interactions, and cultural influences, and it plays a crucial role in influencing how individuals view themselves and interact with the world.

Self-concept is not static; it evolves as individuals grow, learn, and encounter new experiences. 

Changes in self-concept can occur due to personal achievements, life transitions, or shifts in social roles.

Overjustification

When you take smth that is intrinsically by nature but you start giving it extrinsic rewards you start liking it less. A phenomenon that describes how external rewards can decrease a person's intrinsic motivation to perform an activity.

intrinsic motivations

the natural drive to do something because of the enjoyment of the activity itself, rather than for external rewards or recognition.

Extrinsic motivations

is a type of motivation that comes from outside forces, such as rewards or fear of punishment, that influence a person to act.

Mood management

Mood management refers to how individuals regulate or influence their emotional states, often to enhance or sustain creativity.

The book discusses how creative individuals are often aware of their moods and may intentionally use or shift their mood to help with the creative process. 

Positive moods can enhance divergent thinking and idea generation, while negative moods can sometimes help in focusing attention or generating more detailed or analytical work.

Creative Self-Efficacy

Creative self-efficacy is the confidence an individual has in their creative capabilities.

An important predictor of creative performance across domains like education, business, and the arts.

People with high creative self-efficacy are more likely to:

• Take creative risks

• Persist in solving difficult problems

• Share and act on their ideas

• Engage more deeply in the creative process

Creative self

The creative self refers to how individuals see themselves in relation to creativity.

• Creative self-concept: How creative someone believes they are.

• Creative self-efficacy: Confidence in one’s ability to perform creatively.

• Creative identity: The extent to which being creative is part of one's self-definition.

Push-Pull

pull = intrinsic

push = extrensi

You're doing something you want to do (internal drive) and are also being supported or encouraged by external forces.

Pull-pull

You're internally motivated, but you're also internally conflicted—like wanting to be creative, but feeling anxious or afraid of failing

Push-push

You’re caught between external pressures. You might not want to do either thing, or you might want both but feel torn—like having to choose between meeting a client’s vision vs. your teacher’s expectations, neither of which fully reflect your creative goal

Solitary Play

Solitary play involves children playing alone without engaging with others around them. This type of play is common in the early stages of development.

It fosters independent thinking and allows children to explore new ideas or approaches to problems without external influence. It supports self-expression, which is crucial for creativity.

Onlooker Play

In onlooker play, a child watches others play without directly participating.

It helps children gather information and ideas from others' creativity. This observation allows for learning from peers, which can stimulate creative thought by introducing new concepts and possibilities.

Parallel Play

Parallel play occurs when children play alongside each other, using similar materials or activities, but without interacting directly.

It allows children to explore and develop their creative skills while still engaging with the environmentaround them. Though not interactive, it fosters the use of similar materials and shared ideas, which can promote creativity when they later transition to more cooperative forms of play.

Associative Play

Associative play occurs when children start to interact with one another while playing, but the play itself is still loosely structured. They may share materials or take part in similar activities, but there is no clear organization of roles.

It encourages social creativity as children begin to experiment with collaborative thinking and exchange ideas. The interaction helps foster new ideas and supports the development of communication skills, which are important for creative collaboration later in life.

Cooperative Play

Cooperative play is the highest level of play, where children actively work together to achieve a common goal or purpose. This type of play involves structured interactions, such as group activities, role-playing, or shared projects.

It is crucial for developing creative collaboration skills. By working together to solve problems, children learn how to combine ideas, make decisions as a group, and resolve conflicts—skills that are fundamental to creative teamwork and problem-solving later in life.

The 2 hemispheres

In the context of creativity, the two hemispheres of the brain—the left hemisphere and the right hemisphere—play distinct but complementary roles. Creative thinking often involves a balance between the two hemispheres.

Left:

• generally associated with analytical thinking, logical reasoning, and language processing

• convergent thinking

• organization, problem-solving, and structured approaches

Right:

• associated with the ability to think in broad, abstract terms and generate novel ideas

• divergent thinking

• plays a key role in creative activities

Anatomy of the brain

Prefrontal Cortex: The prefrontal cortex is crucial for higher-order cognitive functions like decision-making, reasoning, and planning. In creativity, the PFC helps with executive control, such as evaluating and refining creative ideas. The lateral PFC is especially involved in tasks requiring divergent thinking (generating multiple solutions to a problem), while the medial PFC is more involved in tasks requiring insight and idea generation.

Flow

Flow is a psychological concept that refers to a state of deep immersion and concentration, where a person is fully absorbed in an activity and experiences a sense of enjoyment and fulfillment. In games, flow is a highly desirable state, as it enhances the player's experience and leads to greater engagement.

KEY CHARACTERISTICS:

- intense focus

- there is a balance between game challenges and player's skills

- clear goal and immediate feedback

- there is a loss of consciousness and full immersion in-game

- players have a sense of control over the outcome

- players have to be intrinsically motivated

Problem solving

Problem-solving often requires divergent thinking, followed by convergent thinking, which helps narrow down the options to find the most effective solution. They often need to rely on their semantic memory to identify potential solutions or strategies that might not be immediately obvious. It is usually goal oriented.

Aha, moments often come after a person has stepped back -

One of the challenges in creative problem-solving is overcoming fixation.

Stages in problem-solving:

• Preparation (What am I trying to solve?) —> Define the problem clearly and gather relevant information. You identify the goal or challenge.

• Production (Brainstorming ideas) —> This stage involves generating possible solutions. The focus is on the quantity and diversity of solutions.

• Evaluation (Questioning if this would work) —> After generating ideas, you critically analyze the options, considering potential risks, benefits, and how well they address the problem.

Design fixation

The tendency for designers to become stuck in a specific way of thinking when working on a creative project. It occurs when a designer is overly influenced by initial ideas or solutions, leading them to overlook alternative approaches or creative possibilities. This can prevent innovative thinking and reduce the ability to explore new ideas.

It reduces creativity and stagnation, overlooking better alternatives.

Problem solving sets

A problem-solving set refers to the mental framework that an individual uses to solve a particular problem. The term is often used to describe the combination of existing knowledge and habitual ways of thinking that a person uses to approach a problem.

In creative problem-solving, a flexible and adaptive problem-solving set can help generate novel solutions. A rigid problem-solving set, on the other hand, can hinder creativity by causing individuals to focus on familiar methods or solutions, even when they are not optimal for the problem at hand.

Schema

Schemas are mental frameworks or structures that help us organize and interpret information based on prior knowledge and experiences. They guide our perception, and interpretation of the world around us.

Schemas organize knowledge in memory, helping us recall and process information more efficiently.

Creativity involves modifying, recombining, or breaking schemas to come up with new and novel solutions.

Sometimes schemas can constrain our thinking, leading to fixation (being stuck in familiar ways of thinking). In these cases, creative solutions can come from overcoming these constraints.

Maslow’s Hierarchy of Needs

Humans are motivated by a hierarchy of needs. Maslow’s framework is used to explain how creativity becomes possible when certain basic and psychological needs are met.

The hierarchy, from bottom to top:

1. Physiological needs – food, water, sleep.

2. Safety needs – stability, security.

3. Belongingness and love – relationships, community.

4. Esteem – achievement, recognition, confidence.

5. Self-actualization – fulfilling one’s full potential.

Creativity is often seen as a characteristic of self-actualizing individuals. These people are more likely to engage in intrinsically motivated creative activities because they are not preoccupied with lower-level survival.

Product-Oriented Cultures

• Focus on the end result—the final product or achievement.

• Creativity is valued when it leads to tangible, recognized outcomes, such as inventions, artworks, publications, or awards.

• Success is often measured by external validation (e.g., patents, prizes, market impact).

• These cultures may put pressure on creators to perform and produce visible success.

• There is often less tolerance for trial-and-error or unstructured exploration.

Process-Oriented Cultures

• Focus on the creative journey—the experience of exploring, experimenting, and expressing oneself.

• Creativity is valued for the process itself, such as learning, curiosity, or collaboration.

• There’s more room for failure, iteration, and reflection, which can support long-term creative growth.

• These cultures are often seen in educational, artistic, or collectivist settings where the act of creation holds intrinsic value.

How to make short-term memory into long-term memory? (part of the information processing model)

rehearsal: repeating info over and over until it becomes long-term memory

association: linking new info to smth you already know in long-term memory

elaboration: expanding on new info by adding details

encoding: the process of converting information into a form that can be stored in long-term memory.

• Semantic encoding – Processing meaning (associating a word with a concept).

• Visual encoding – Using mental images.

• Acoustic encoding – Remembering through sound.

• Tactile encoding – Using touch (hands-on learning).

Connection to Creativity: Deep encoding allows for stronger recall, meaning you can pull ideas from LTM when problem-solving or innovating.

Accessing stored information (part of the information processing model)

Retrival: process of recalling information from long-term memory

• Recognition – Identifying information when given cues.

• Recall – Retrieving information without cues.

• Reconstruction – Rebuilding memories based on fragments of past experiences.

Connection to Creativity: The ability to retrieve and recombine old ideas in new ways is key to innovation and problem-solving.

Essentialism

Essentialism refers to the belief that ppl have an underlying, unchangeable essence that defines them. In the context of creativity, this might mean believing that:

• Creativity is a fixed trait—you either have it or you don’t.

• Certain people are "naturally" creative, while othersLaws are not.

The book critiques essentialist thinking because it often limits growth, especially in educational or developmental contexts.

Laws, Mores, Norms

Laws (Formal Constraints)

• Official, codified rules established by legal systems.

•  Laws act as formal boundaries for creative expression (e.g., censorship laws, intellectual property law).

• Creativity can be shaped or limited by laws, but in some cases

Mores (Moral Norms)

• Strongly held moral beliefs and customs in a society.

• Mores influence what types of creativity are considered appropriate, controversial, or taboo.

• For example, artistic or political creativity may push against mores and challenge deeply rooted cultural values.

Norms (Social Expectations)

• Informal, everyday social rules about acceptable behavior.

• Cultural norms shape creative expression—what’s encouraged or suppressed.

• For instance, individualistic cultures may encourage standing out and originality, while collectivist cultures may prioritize harmony and group success.