Creativity Styles of Freshmen Students*

Hypnotizability, Creative Capacity, Creativity Styles, Absorption, and Phenomenological Experience During Hypnosis

“…In studies with undergraduate students and a sample of managers, Kumar and colleagues (Kumar et al, 1991Pollick & Kumar, 1997) have found that the participants scoring high on the SPCC (formerly the GMCC), relative to those scoring low, reported (a) a greater belief in unconscious processes, (b) used a greater number of techniques to a greater degree, and (c) were more motivated by pursuit of ideas, as opposed to developing a final product.…”

“…Taft (1971), as noted before, used the term style in the sense of a preference for artistic or emotional (hot creativity) or scientifically oriented problem solving (cold creativity). Kumar, Holman, and Rudegeair (1991;also Kumar, Kemmler, & Holman, 1997) used the term styles in the sense of beliefs and approaches to being creative in everyday life (see also Verma, 1993). They described seven styles of creativity: (a) Belief in Unconscious Processes (e.g., "I have had insights, the sources of which I am unable to explain or understand"), (b) Use of Techniques (e.g., "I typically create new ideas by combining existing ideas"), (c) Use of Other People (e.g., "When I get stuck, I consult or talk with people about how to proceed"), (d) Final Product Orientation (e.g., "I enjoy the process of creating new ideas whether they lead to a final product or not), (e) Superstition (e.g., "I have a favorite amulet or clothing that I wear when I am engaged in creative work"), (f) Environmental Control and Behavioral Self-Regulation (e.g., "I have set aside a particular place [or places] for creative work"), and (g) Use of Senses (e.g., "I tend to use my visual sense a lot in my creative work").…”

Interdependency between average novelty, individual average novelty, and variety

“…According to Osborn (1953) quantity breeds quality in ideation and early ideas are unlikely to be of higher quality during an ideation session. The rationale for the measure quantity is that generating a large number of ideas enhances the chance of better ideas (Osborn, 1953;Kumar et al, 1991;Basadur and Thompson, 1986). However, this is applicable under certain conditions (e.g.…”

Collaborative Sketching (C‐Sketch) — An Idea Generation Technique for Engineering Design

“…The tackle for this type of block is to use more flexible representations, such as pictorial or graphical representation Lawson, 1994;Roy, 1993;Tovey, 1986). Another block that has been identified from the literature is premature judgment while developing designs and ideas (Grossman and Wiseman, 1993;Candy and Edmonds, 1996;Osborn, 1979;Kumar, et al, 1991;Cross and Cross, 1996). This block may force designers to discard early design ideas that do not evaluate well.…”

“…Some promoters make use of previous knowledge for the generation of new ideas, this bridging process is important for innovative design. The use of combinatorial play (Cross, 1996;Kumar et al, 1991;Verstijnen et al, 1998) and analogies (Candy, 1996;Candy and Edmonds, 1996;Ekvall and Parnes, 1984) help the designer access earlier periods and trigger new ideas. When the designer is overwhelmed by the number of ideas, or no ideas at all, imposing constraints promotes creativity by focusing on the crux of the problem (Finke, 1990, Finke et al, 1992, Savage and Miles, 1998.…”