Creativity, Visual Imagination and Suggestibility: Their Relationship in a Group of 10‐year‐old Children

McHENRY, Robert; Shouksmith, George

doi:10.1111/j.2044-8279.1970.tb02115.x

Cited by 9 publications

(6 citation statements)

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“…Three studies found nonsignificant relations between these dimensions (Hudson, 1968;Iwata, 1968;Souief & El-Sayed, 1970), while one found extraversion and divergent thinking positively related (Kobayashi, 1970). McHenry and Shouksmith (1970) found that children's acceptance of supposed group norms (for names of inkblots) was related positively to divergent thinking. Dacey and Ripple (1969) found that divergent thinking was unrelated to independence of other's opinions.…”

Section: Divergent Thinking As Creative Abilitymentioning

confidence: 95%

“…An example of the confusion that occurs is a study by McHenry and Shouksmith (1970), finding divergent thinking creativity scores related to suggestibility in children. As the authors note, their result is somewhat paradoxical (p. 159).…”

Section: Divergent Thinking As Creative Abilitymentioning

confidence: 97%

“…Perhaps because of the cultural emphasis on creativity, acceptance of divergent thinking tests as creativity tests persists and leads to distortions in research design and interpretation. An example of the confusion that occurs is a study by McHenry and Shouksmith (1970), finding divergent thinking creativity scores related to suggestibility in children. As the authors note, their result is somewhat paradoxical (p. 159).…”

Section: Further Research On Divergent Thinking Confirms That These T...mentioning

confidence: 99%

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Creativity in the person who will never produce anything original and useful: The concept of creativity as a normally distributed trait.

Nicholls¹

1972

American Psychologist

124

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HE term creativity is used with something approaching gay abandon by both psychologists (Yamamoto, 1965) and people in general (Bruner, 1962;Morreale, 1969), but is most appropriately applied where there is evidence of achievements that are original and make a meaningful contribution to culture. Writers on creativity would surely agree that if the term is to be applied to people who in the strict sense are not creative, the links between these and eminent creators must be established clearly. However, these links have not been clarified adequately, and when, they are, one popular approach to creativity will rest on uncertain foundations.Creativity research can be categorized in a number of ways (e.g., Golann, 1963). This article suggests that there are two major approaches to creativity in normal populations. In one, products are rated on a continuum of creativity, and the personal and social factors associated with creative achievement are examined. In the other, the central concern of this article, it is assumed that there is a trait (or traits) of creativity-the psychological significance of the trait and its contribution to creative production are examined.The first approach has been used in the study of eminent or high-level creators (e.g., Helson & Crutchfield, 1970a;MacKinnon, 1965;Taylor & Ellison, 1967) and with less outstanding subjects (e.g., Csikszentmihalyi & Getzels, 1970;Holland, 1961). If this approach to creativity in normal populations is adopted, the continuity between eminent and everyday creativity resides in the criteria for judging the creativity of products. It is not necessary to assume a normally distributed trait 1 Requests for reprints should be sent to John G. Nicholls,

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Section: Divergent Thinking As Creative Abilitymentioning

confidence: 95%

Section: Divergent Thinking As Creative Abilitymentioning

confidence: 97%

Section: Further Research On Divergent Thinking Confirms That These T...mentioning

confidence: 99%

See 1 more Smart Citation

Creativity in the person who will never produce anything original and useful: The concept of creativity as a normally distributed trait.

Nicholls¹

1972

American Psychologist

124

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“…Interestingly, many questionnaires for exploring visual imagination were developed in parallel (e.g., Sheehan, 1967 ; Marks, 1973 ; Heckler et al, 1993 ), measuring mainly the following: (1) imagery vividness—the clarity, complexity, and elaboration of the imagery generated; (2) imagery control—the ability to manipulate the imagery generated; and (3) imagery style—a preference for imagery-based or verbal strategies of encoding and processing information (MacInnis, 1987 ). The assessment criteria in the newly developed test measures were nearly identical with those in typical divergent thinking tests, for example: flexibility, elaboration, originality, asymmetry, and abstraction in the Franck Drawing Completion Test (FDCT; Schaefer, 1970 ; Anastasi and Schaefer, 1971 ), flexibility, elaboration, and originality in the Visual Imagination Test (VIT; McHenry and Shouksmith, 1970 ), or flexibility and originality in the Creative Imagination Test (CIT; Schubert, 1973 ). On the other hand, the influence of Guilfordian tests on the practice of testing and creative imagination assessment may not be so obvious as it is described to be.…”

Section: Introductionmentioning

confidence: 99%

Measuring creative imagery abilities

Jankowska

Karwowski

2015

Front. Psychol.

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Over the decades, creativity and imagination research developed in parallel, but they surprisingly rarely intersected. This paper introduces a new theoretical model of creative visual imagination, which bridges creativity and imagination research, as well as presents a new psychometric instrument, called the Test of Creative Imagery Abilities (TCIA), developed to measure creative imagery abilities understood in accordance with this model. Creative imagination is understood as constituted by three interrelated components: vividness (the ability to create images characterized by a high level of complexity and detail), originality (the ability to produce unique imagery), and transformativeness (the ability to control imagery). TCIA enables valid and reliable measurement of these three groups of abilities, yielding the general score of imagery abilities and at the same time making profile analysis possible. We present the results of nine studies on a total sample of more than 1700 participants, showing the factor structure of TCIA using confirmatory factor analysis, as well as provide data confirming this instrument's validity and reliability. The availability of TCIA for interested researchers may result in new insights and possibilities of integrating the fields of creativity and imagination science.

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“…However, study after study indicates that the vividness of people's visual imagery is not positively correlated with their visual creativity or their visual problemsolving skills. Seven studies have found that image-vividness ratings tend not to correlate significantly with creativity tests [3][4][5][6][7][8][9]. Thirteen other studies have found that image-vividness measures tend not to correlate significantly with tests of directed mental synthesis [7,10], with tests of mental rotation [11][12][13][14][15][16], with mental cube-cutting exercises [10,16,17], with mental folding exercises [12,15,16,[18][19][20][21], with jigsaw-puzzle and map-reading exercises [16], and with geometrical loci problems [22].…”

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confidence: 99%

On the Cognitive Function of Visual Images and the Development of Individual Differences

Kunzendorf

Reynolds

2005

Imagination, Cognition and Personality

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The hypothesis that mental images are the building blocks from which imaginative thoughts are constructed, although often uncritically accepted, is not supported by the many studies finding no significant correlation between visual imaging abilities and visual problem-solving skills. Based on the alternative hypothesis that visually imaged sensations are constructed from “imageless thoughts,” the present research correlates the ability to image with the ability to develop rules of perceptual equivalence, by constructing imaginal sensations from the rules and testing them against perceptual sensations. Specifically, in this research 60 students were instructed to figure out the rules of topological equivalence which allow a figure to be rotated and stretched and twisted into a topologically equivalent figure but do not allow it to be cut or glued together. As predicted, the results showed that the 30 students whose instructions encouraged them to construct visual “test images” were better at identifying which two figures, out of three, were topologically equivalent. In addition, the results showed that students whose visual images were more vivid and more prevalent at the end of the experiment were better at identifying topologically equivalent figures. Finally, they showed that figuring out topological rules increased the vividness of students' imagery.

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Creativity, Visual Imagination and Suggestibility: Their Relationship in a Group of 10‐year‐old Children

Cited by 9 publications

References 5 publications

Creativity in the person who will never produce anything original and useful: The concept of creativity as a normally distributed trait.

Creativity in the person who will never produce anything original and useful: The concept of creativity as a normally distributed trait.

Measuring creative imagery abilities

On the Cognitive Function of Visual Images and the Development of Individual Differences

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