Self-Ratings of Creativity, Semantic Differential Ratings, and Preferences for Polygons Varying in Complexity, Simplicity, and Symmetry

Eisenman, Russell; Grove, Michael S.

doi:10.1080/00223980.1972.9923789

Cited by 4 publications

(4 citation statements)

References 8 publications

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“…Furnham, Batey, Anand, and Manfield (2008) found self-assessed creativity to have significant but low correlations with divergent thinking tasks. They also found significant correlations with self-reported creative activities, although Eisenman and Grove (1972), in a similar comparison, found no such relationship.…”

mentioning

confidence: 83%

Evaluation of Self-Perceptions of Creativity: Is It a Useful Criterion?

Reiter‐Palmon¹,

Robinson-Morral

Kaufman

et al. 2012

Creativity Research Journal

135

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mentioning

confidence: 83%

Evaluation of Self-Perceptions of Creativity: Is It a Useful Criterion?

Reiter‐Palmon¹,

Robinson-Morral

Kaufman

et al. 2012

Creativity Research Journal

135

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show abstract

“…Interestingly, selfratings of creativity correlated inversely with a preference for complexity (i.e., a high score on the question "How creative are you?" related positively with a dislike of complexity, r ϭ .34, p Ͻ .01, and a liking of simplicity, r ϭ .25, p Ͻ .05), whereas self-report about the number of instances of creative behaviors correlated slightly positive with liking complexity and disliking simplicity (Eisenman & Grove, 1972). Barron and Welsh (1952) compared artists and non-artists and found evidence for artists liking complex-asymmetrical figures and disliking simplesymmetrical ones.…”

Section: Individual Differences In Aesthetic Appreciationmentioning

confidence: 96%

Order, complexity, and aesthetic appreciation.

Geert

Wagemans

2020

Psychology of Aesthetics, Creativity, and the Arts

105

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Which stimulus and person characteristics determine aesthetic appreciation? For many centuries, philosophers and scientists have been trying to solve this complex puzzle. Through the ages, order, complexity, and the balance between order and complexity have frequently been considered as an answer to this question. The literature on the topic, however, both theoretically and empirically speaking, is rather diffuse and contradictory. In this review, we give an overview of the main theories and empirical findings relating order, complexity, and their interplay to aesthetic appreciation, focusing on research concerning the visual modality. Additionally, we propose our own view on the interplay between order and complexity, in line with the reviewed theories and findings. Besides general relations, also individual differences in order, complexity, aesthetic appreciation, and their interrelations are discussed. With this review, we hope to conceptually clarify the literature and point to new roads for investigation in the field of human aesthetics.

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“…Investigations that focus on non-psychometric measures are less clear. Selfreport measures tend to correlate highly with each other (e.g., Fleenor & Taylor, 1994;Goldsmith & Matherly, 1988;, although selfreport measures do not appear to correlate highly with self-reported creative activities (Eisenman & Grove, 1972). Lee, Day, Meara, and Maxwell (2002) used three measures of creativity (verbal, pictorial, and self-report) and found little relationship among the three measures.…”

mentioning

confidence: 99%

The American Idol Effect: Are Students Good Judges of Their Creativity across Domains?

Kaufman

Evans

Baer

2010

Empirical Studies of the Arts

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Students are often asked to judge their own creativity. There is some evidence that such judgments correlate modestly with other self-report data and some divergent thinking test measures. Only limited work, however, has been done comparing self-reported creativity with actual creative performance. Because levels of self-reported creativity might vary across domainswhich would allow greater likelihood of accuracy of such reports-we examined self-reports of creativity in four domains and compared these with expert ratings of subjects' work in those domains (as judged using the Consensual Assessment Technique). Subjects were 78 fourth-grade students. The students did not predict uniform levels of creativity for themselves across domains (all self-assessments correlated across domains less than .30). However, these predictions did not match expert ratings of the students' creative products in each domain. These results challenge the validity of self-assessments of creativity among students of this age, even when the students are given the opportunity to give themselves different creativity ratings in different domains.

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Self-Ratings of Creativity, Semantic Differential Ratings, and Preferences for Polygons Varying in Complexity, Simplicity, and Symmetry

Cited by 4 publications

References 8 publications

Evaluation of Self-Perceptions of Creativity: Is It a Useful Criterion?

Evaluation of Self-Perceptions of Creativity: Is It a Useful Criterion?

Order, complexity, and aesthetic appreciation.

The American Idol Effect: Are Students Good Judges of Their Creativity across Domains?

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