bluuebunny/crossref_metadata_2025_split huggingface dataset:
A Comparative Analysis of Entrepreneur and College Business Student Values
Authors: SOLOMON GEORGE T. , FERNALD LLOYD W. 
Published: December 2011

ABSTRACT Both entrepreneurs and senior‐level college business students were surveyed to determine similarities and differences in their values, under the premise that students who share similar values with those held by entrepreneurs may have promise of entrepreneurial potential. All respondents were administered the Rokeach Value Survey which, through a process of rank‐ordering, is used to determine two hierarchies of value importance for individuals.The first hierarchy reflects an individual's terminal value system, or those values associated with end‐states of existence. The second hierarchy reflects an individual's instrumental value system, or those values associated with modes of conduct. The resulting data provided a tabulation of medians, rank order composites and levels of significance for the terminal and instrumental values, respectively, of both samples.Rank order composites were used as general indices in comparing the position of a particular value in the total hierarchy of values and for comparing the position of a particular value across the two groups. Emphasis was placed on those values which were ranked very low or very high by the entrepreneurs. Comparisons of student value rankings relative to those values the entrepreneurs held highest and lowest were then conducted. The findings indicated that there were value differences between the total sample of entrepreneurs and students, as well as between female entrepreneurs and female student values, but there were few differences between male entrepreneur and male student values.In addition to the above comparisons, median analysis between entrepreneur and student terminal and instrumental values were conducted. An examination of the general population of entrepreneurs and students revealed that twelve of the eighteen terminal values of the entrepreneurs and students were significantly different at the (.05) level Only four of the eighteen instrumental values were significantly different (.05) level between the entrepreneurs and students.The median analysis between male entrepreneurs and male student values showed no significant differences. However, the median analysis between female entrepreneur and female student values showed that seven of the eighteen instrumental and eleven of the eighteen terminal values were significantly different at the (.05) level.Although not examined, it is likely that individual students in the sample do share the value profiles of the entrepreneurs. If so, and if generally accepted value profiles are established for entrepreneurs, such students might be counseled to consider the entrepreneurial life.
Assessment of the Long Term Effects of the Master of Science Degree in Creative Studies on its Graduates
Authors: FIRESTIEN ROGER L. , LUNKEN HEDRIA PORRATH 
Published: December 2011

ABSTRACTThis article will report the results of a study that was conducted to determine the long‐term impact of the Master of Science Degree in Creative Studies, at Buffalo State College, on the personal and professional lives of the program graduates.A questionnaire designed to assess how graduate study in creativity has impacted graduates' personal and professional lives was sent to all program graduates.Analysis of the responses of the 38 Creative Studies graduates who completed the questionnaire indicated that study in creativity has significantly influenced their lives and is an integral part of their personal and professional activities.The authors would like to thank the following individuals for their valuable assistance in the development of this study: Scott Isaksen, Mary Murdock, Donald Treffinger, E. Paul Torrance, Ruth Noller, Sidney Parnes, Andrew Joniak, Gerard Puccio, K. Brian Dorval, and graduates of the Master of Science Degree in Creative Studies at Buffalo State College.
A Critical Path Analysis of Scientific Productivity
Authors: LOEHLE CRAIG 
Published: December 2011

ABSTRACTCritical path analysis is proposed as a framework for problems of scientific productivity. Scientific productions are critical path problems because a single failed step in a project is sufficient to ruin an experiment or keep a paper from being published. For critical path processes, the probability of failure is a power function of the number of steps. Thus, project success is nonlinearly related to both the skill level and the number of sequential or critical path steps. A queuing model simulation of scientific production is presented. Results for short and long productions are shown to match documented lifetime publication rates of the most prolific (high skill level) and of average scientists (lower skill level). In this model creativity may decrease productivity by shifting the focus to more time consuming problems, increase productivity if the creativity resolves bottlenecks or eliminates problem steps, or have no effect if technique (e.g., observational skill) dominates the project's time budget. Sociological factors affecting productivity can also be integrated into the model. The model has the advantage that it can be tested against scientific diaries and by constructing time budgets and failure analyses of ongoing projects.
The Du Pont Oz Creative Thinking Network
Authors: TANNER DAVID 
Published: December 2011

ABSTRACTThe OZ Creative Thinking Network is a volunteer group of Du Pont employees devoted to educating themselves and others in the field of creativity and innovation. This network was organized in 1986 and has a current membership of over 600 employees. It illustrates the power of grass roots support for learning and applying the skills of creative thinking, a field that people intrinsically value. An OZ project led to publication in 1990 of a book entitled “ARE WE CREATIVE YET?” that couples essays expressing concepts in creativity and innovation with Bob Thaves' Frank and Ernest cartoons.
The Imagery‐Creativity Connection
Authors: DANIELS‐McGHEE SUSAN , DAVIS GARY A. 
Published: December 2011

AbstractThis paper reviews historical and contemporary highlights of the role of imagery in creativity. Plato linked imagery to memory, while Aristotle felt images provided substance for thought. Simonides and renaissance philosophers recognized imagery as a useful memory aid. Imagery was replaced by a focus on words in both the Protestant Reformation period and behavioristic psychology. Imagery appears in the theories of Freud, Jung, Piaget, Guilford, and Gardner; the prescriptions of educators Pestalozzi and Montessori; and contemporary cognitive psychology. Quotes from Beethoven, Einstein, and others confirm their imagery in all sensory modes and often cross‐modal imagery. Recent creativity models emphasize voluntary (executive) and involuntary control of imagery, including decoupling of perceptual mechanisms. Creativity techniques and imagery exercises seem to aid creative thinking.Our common‐sense and dictionary definitions of creativity include the concept of imagination, the ability to form a mental image of something not present. Anecdotal reminiscences by Einstein, Beethoven, and other eminent innovators confirm the obvious — that mental imagery and creativity are related intimately. For example, creative writing has been conceived as creating images based on memories and/or current experiences and combining and synthesizing them in novel ways. The writing is described as a recursive process of moving back and forth between these representations and the prose itself (Flower & Hayes, 1984; Long & Hiebert, 1985).Despite the self‐evident general connection, a debate continues in education and psychology regarding the precise role that imagery plays in learning, thought, and creativity. For example, Forisha (1978, p. 209) noted that “we have tended to ignore the variability and complexity of imagery — as well as the varieties of creativity — and thus have only skirted the complexities and multiplicities of the interrelationships.” In this report we will review some historical highlights of the imagery‐creativity connection, including early and contemporary accounts, along with some notable examples of imagery in the creative process. We also will look at cross‐modal imagery (synesthesia); a model of image‐based creativity and the creative process; and some implications for strengthening creativity by fostering imagination.
Getting Out of Ruts A Laboratory Study of a Cognitive Model of Reframing
Authors: LIPSHITZ RAANAN , WAINGORTIN MARIO 
Published: December 2011

ABSTRACTThe theory of Action Identification predicts that people are more likely to adopt a novel course of action if they concentrate on the how rather than the why aspects of their behavior. This study tested two hypotheses derived from the theory: (a) Operating at a low level of action identification increases the likelihood of problem reframing, and (b) High level of action identification induces perseverance with solutions that are compatible with currently held frames, whereas low level of action identification induces change to solutions that are compatible with alternative frames. The hypotheses were tested by presenting subjects with two case descriptions of problem solving in the real world. The results show that Action Identification can be used as a cognitive model of reframing.
Creativity, Gender and The Family: A Study of Creative Writers
Authors: POHLMAN LIVIA 
Published: December 2011

ABSTRACTBased on interviews with 20 creative writers, this study explores the relationship between creativity and the family. Although most research in this area addresses the effect of parental influences on young creators, this study examines the effect of being a parent and a spouse once adult creators establish families of their own. The family affects writers in terms of (a) gender expectations, (b) material and symbolic constraints of parenthood, and (c) social support provided by spouses. These social forces affect men and women differently, and may help explain why there have been so few female creators. Locating creativity within the context of family relationships will further expand the study of creativity from a psychological phenomenon to a social process.
The Creative Identity: Creative Behavior From The Symbolic Interactionist Perspective
Authors: PETKUS ED 
Published: December 2011

ABSTRACTThis paper outlines a framework for understanding the motivation of certain creative behaviors from the perspective of symbolic interactionism. The fundamental tenets of symbolic interactionism are described, followed by a discussion of the mechanics of symbolic interactionist‐based role‐identity theory, and how the theory can be applied to the motivation of creative behavior. The paper also addresses directions for practical application and future research in this area.
Electronic Creativity Techniques for Organizational Innovation
Authors: SIAU KENG L. 
Published: December 2011

ABSTRACTInnovation is the key to survival. Domestic and international competitions, changing government regulations, and rapidly evolving global market conditions demand constant and visionary innovation. The aim of this paper is to explore ways of using advance electronic and communication technology to improve innovation in organizations. This paper proposes that two group creativity techniques, PMI and synectics, should be implemented electronically in Group Support Systems to complement electronic brainstorming and support group idea generation. Not only are these two group creativity techniques well‐developed and popular in the industry, their electronic counterparts have the added capability of transcending space and time constraints. A comparison of electronic brainstorming, PMI, synectics, and their verbal counterparts is discussed in the paper.
Creativity in the Workplace: People, Problems, and Structures
Authors: MUMFORD MICHAEL D. , SIMONTON DEAN KEITH 
Published: December 2011

ABSTRACTIn a dynamic global economy, creativity and innovation are essential requirements for organizational success. Creativity, unfortunately, has not always been seen as playing an important role in the design and structure of organizations. In this article, we argue that creativity and innovation are key requirements for the growth and adaptation of organizations. Subsequently, we review a series of articles, appearing in this issue, about how we might encourage creativity and innovation in the workplace. Some potentially useful directions for future research are discussed along with the methodological issues likely to arise as we seek to understand creativity in the workplace.
Entrepreneurial Creativity Through Motivational Synergy
Authors: AMABILE TERESA M. 
Published: December 2011

ABSTRACTThis paper defines and describes entrepreneurial creativity, which is the generation and implementation of novel, appropriate ideas to establish a new venture. Entrepreneurial creativity can be exhibited in established organizations as well as in start‐up firms. The central thesis of this paper is that entrepreneurial creativity requires a combination of intrinsic motivation and certain kinds of extrinsic motivation — a motivational synergy that results when strong levels of personal interest and involvement are combined with the promise of rewards that confirm competence, support skill development, and enable future achievement.
Perceptions of Brainstorming in Groups: The Quality Over Quantity Hypothesis
Authors: ROWATT WADE C. , NESSELROADE K. PAUL , BEGGAN JAMES K. , ALLISON SCOTT T. 
Published: December 2011

ABSTRACTOur research focused on the implicit beliefs of potential brainstormers about the possible outcomes of brainstorming. We conducted four studies to assess the relative importance of quality and quantity as goals of brainstorming. In Study 1, we found evidence for a quality over quantity hypothesis: participants indicated that it was more important to produce creative, original, and high quality ideas than to generate a large number of ideas. In Studies 2 and 3, participants displayed support for the quality over quantity hypothesis by showing in group favoritism for a quality dimension but not a quantity dimension. Study 4 showed that participants believed brain‐storming would enhance the quality of others' ideas more than one's own ideas, but they did not display a similar bias about idea quantity.
Traditional Education and Creativity in an Afro‐Arab. Islamic Culture: The Case of Sudan
Authors: KHALEEFA OMAR H. , ERDOS GEORGE , ASHRIA IKHLAS H. 
Published: December 2011

ABSTRACTThis study investigated the differing effect upon creativity of traditional and modern education in the Sudan. The salient characteristics of the two types are presented, with a brief discussion of their likely effects. Four creativity tests, suitably modified for local conditions, were administered to 264 male and female students, with an age range of 15–20 years. The results indicated that the group receiving modern education performed significantly better than the traditionally educated group on two of the four creativity tests, but with equal performance on one test. The traditionally educated group performed significantly better on the fourth test. The discussion suggests there are a number of factors, both sociocultural and methodological, which may account for these findings.
The Creative Mode of Being
Authors: KOKOT SHIRLEY J. , COLMAN JANE 
Published: December 2011

SUMMARYBecause of misperceptions about the nature of creativity, many creative children are misunderstood in and out of their classrooms. Based on a close association with creative adults and childrenn, the authors postulate that creativity is a state of being that is challenged by the socialization process in Western civilization. The authors envisage two differing states of being namely, an essential and a conventional. These states represent end points on a continuum. Creative adults speak of their struggle to try and regain something of their original state of being. Understanding creative children who are closer to the essential state is important for their emotional well‐being and the nurturing of their creativity.
Apollo 13 Creativity: In‐the‐Box Innovation
Authors: KING MARGARET J. 
Published: December 2011

ABSTRACTA study of the Apollo 13 mission, based on the themes showcased in the acclaimed 1995 film, reveals the grace under pressure that is the condition of optimal creativity. “Apollo 13 Creativity” is a cultural and creative problem‐solving appreciation of the thinking style that made the Apollo mission succeed: creativity under severe limitations. Although creativity is often considered a “luxury good,” of concern mainly for personal enrichment, the arts, and performance improvement, in life‐or‐death situations it is the critical pathway not only to success but to survival. In this case, the original plan for a moon landing had to be transformed within a matter of hours into a return to earth. By precluding failure as an option at the outset, both space and ground crews were forced to adopt a new perspective on their resources and options to solve for a successful landing. This now‐classic problem provides a range of principles for creative practice and motivation applicable in any situation. The extreme situation makes these points dramatically.
Creative Problem Solving Groups at the Edge of Chaos
Authors: GUASTELLO STEPHEN J. 
Published: December 2011

ABSTRACTMathematical concepts of chaos and self‐organization were used to reinterpret the chance‐configuration process for creative problem solving. Transcripts from three problem solving discussions involving eight or fewer social scientists were analyzed by nonlinear regression to determine whether the groups' productivity was chaotic over time and if control variables were in evidence. It was shown that productivity was chaotic as evidenced by a positive Lyapunov exponent, strongly correlated with the number of active discussion threads, and also dependent on the people‐discussion combination. The number of discussion threads, in turn, acted as a driver function that triggered chaosticity in overall performance. The results suggested numerous new studies for investigating dynamical processes in creative thought.
Are Some Cognitive Styles More Creatively Productive than Others?
Authors: GUASTELL STEPHEN J. , SHISSLER JAMES , DRISCOLL JOHN , HYDE TREVOR 
Published: December 2011

ABSTRACTThe conceptual similarities among several taxonomies of cognitive style were examined, and common themes emerged concerning their expected contributions to creative output. In the first of two studies, 626 adults from a range of creative occupations, including undergraduates, completed a measure of their quantity of creative output in several domains and their dominant cognitive style out of eight options. In the second, 277 undergraduates reported the extent to which they engaged in any of the eight styles along with the same indicator of creative output. Results showed substantial positive correlations between innovator, synthesizer, and planner styles with productivity, with negative and null relationships for other styles. Furthermore, creative output was highest for people who engaged in a wide repertoire of cognitive styles. It is recommended that creativity training or enhancement programs continue to allocate time to repertoire developement.
A Study of the Development of Young Artists: The Emergence of on Artistic and Creative Identity
Authors: ROSTAN SUSAN M. 
Published: December 2011

ABSTRACTThis study explored what children have to say about making art and the sense of self as they begin to make art. Thirty‐nine children, ranging in age from 8 to 11 and enrolled in a private after‐school art enrichment class, participated in this study of young artists. The study involved individual interviews with all participants, inviting them to describe the focus of their painting projects, experiences in the process of making art, what it means to them to be an artist, and what it means to be creative. Two independent raters summarized the transcribed interviews, revealing age‐related qualitative changes in skill development as well as in ‘participants’ conceptions of what it means to be an artist and what it means to be creative. The investigation further revealed that conceptions of what it means to be an artist and to be creative reflected the artistic focus, just as the artistic focus reflected conceptions about being an artist and being creative. The motivation to work hard at developing skills was clearly evident in the young artists' descriptions of their artistic focus, and in their conceptions of just what it means to be an artist.
The Second Chance Project: Creative Approaches to Developing the Talents of At‐Risk Native Inmates
Authors: PLACE DAVID J. , McCLUSKEY ANDREA L. A. , McCLUSKEY KEN W. , TREFFINGER DONALD J. 
Published: December 2011

AbstractThis study compared the recidivism rate of two groups of Native Canadian inmates. The experimental group of offenders received intensive pre‐release support, including counseling, training in Creative Problem Solving, career awareness sessions (including résumé writing, interviewing, and impression management), and on‐the‐job experience. Inmates in the control group received no such support; at sentences' end, they were simply released into society to fend for themselves. The results indicated that recidivism can be reduced by a meaningful support program. Individuals in the experimental group were much less likely to re‐offend than those in the untreated control group.
Transliminality and Creativity
Authors: THALBOURNE MICHAEL A. 
Published: December 2011

AbstractUsing 50 psychology undergraduates, an attempt was made to find positive correlations between, on the one hand, transliminality (psychological material crossing thresholds into or out of consciousness), and on the other hand, (item‐corrected) creative personality, and figure‐complexity preference (as given by the Revised Barron‐Welsh Art Scale: a measure of creativity). Only the correlation between transliminality and creative personality was significant. There was also a significant and high test‐retest reliability coefficient for the Transliminality Scale, as well as a significant positive correlation between creative personality and paranormal belief.
A Statistical Analysis of Special Cases of Creativity
Authors: HUBER JOHN C. 
Published: December 2011

AbstractFor some special cases of creativity, we find that its occurrence in each individual's career is random and Poisson‐distributed. That is, the rate of production of outputs is constant over each individual's career. The exceptions to this rule are no more than what would be expected by chance fluctuation alone. The distribution of individual productivity across each sample is exponential. That is, most individuals have low productivity and few have high productivity. Similarly, the distribution of career duration is also exponential. We show that these findings are in substantial agreement with the Campbell‐Simonton theory of creativity. We also show that these findings are consistent with the statistics of exceedances.
A Review on the Study of Creativity in Singapore
Authors: TAN AI‐GIRL 
Published: December 2011

AbstractThis paper reviews the study of creativity in Singapore. Three questions are asked. What is the current status of the study of creativity in Singapore? What kinds of creativity studies have been conducted? What are the future directions of Singaporean creativity research? PsycLIT and Eric databases, as well as resources in Singapore libraries such as journals, proceedings, and books are searched. The study of creativity is grouped into five categories, namely conceptual framework, conceptions of creativity (empirical), creative competence (empirical), creativity programs, and creative pedagogy. This review intends to contribute to the literature of creativity and the understanding of human creativity. Future directions of Singapore's creativity research should address several issues including theories or models, methods and instruments, the sample, research agenda, and research network.