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В статье выявляется клише в подаче информации о Ф.М. Достоевском, в публицистическом дискурсе КНР в преддверии 200-летия со дня рождения русского писателя. Предмет исследования являет собой немаловажный интерес, будучи связанным с особенностями рецепции личности и творчества художника в инокультурной среде, хотя исследований по этому вопросу найти не удалось. Данный обзор не может претендовать на то, чтобы дать исчерпывающую картину стереотипности и клишированности в подходах современного китайского нарратива о Достоевском, но и на его основе можно сделать некоторые заключения. Во-первых, выявляются закрепившиеся в публицистике Китая речевые и идейные клише о фигуре Достоевского, а во-вторых, выделяются типичные представления о его произведениях, бытующие в публицистике Китая. Кроме того, делается вывод о существенных отличиях в понимании образа и творчества Достоевского в китайском публицистическом дискурсе и в среде китайских достоевистов.

With artificial intelligence (AI) increasingly involved in the creation of organizational and commercial artifacts, human evaluators' role as creativity gatekeepers of AI-produced artifacts will become critical for innovation processes. However, when humans evaluate creativity, their judgment is clouded by biases triggered by the characteristics of the creator. Drawing from folk psychology and algorithm aversion research, we examine whether the identity of the producer of a given artifact as artificial intelligence (AI) or human is a source of bias affecting people's creativity evaluation of such artifact and what drives this effect. With four experimental studies (N = 2039), of which two were pre-registered, using different experimental designs and evaluation targets, we found that people sometimes—but not always—ascribe lower creativity to a product when they are told that the producer is an AI rather than a human. In addition, we found that people consistently perceive generative AI to exert less effort than humans in the creation of a given artifact, which drives the lower creativity ratings ascribed to generative AI producers. We discuss the implication of these findings for organizational creativity and innovation in the context of human-AI interaction. [ABSTRACT FROM AUTHOR]

Although mounting research has focused on the antecedents to accurate idea evaluation—an important step in the creative process—little attention has been given to the biases that may occur when individuals evaluate their own creativity. This study examines biased creative self-evaluation via the antecedents to creative self-enhancement, defined as an overly positive self-perception of one's own creative performance. We examine three individual differences as antecedents to creative self-enhancement—gender, creative self-concept, and trait hypercompetitiveness—and test our hypotheses in a unique competitive context using a pre-post research design. Results suggest that men and those who are relatively high in trait hypercompetitiveness are at higher risk of creative self-enhancement. We also find marginal support for a multiplicative effect: Males who are relatively high in hypercompetitiveness and relatively low in creative self-concept engage in the highest level of creative self-enhancement. Theoretical implications and opportunities for future research are discussed. [ABSTRACT FROM AUTHOR]

This study investigated the evaluation behavior of products generated by artificial intelligence (AI) by manipulating the creativity of rating stimuli according to their high and low novelty and usefulness. In addition, we analyzed the effect of perception of the generative AI on creativity ratings. We found a bias toward lower creativity ratings only for highly useful products when they were identified as AI-generated, and this bias was particularly strong for individuals with greater perceived threat from the generative AI. Our research highlights the importance of product attribute quality and producer identity in creativity ratings, and provides implications for the integration of AI into creative industries.

The relationship between narcissism and creativity has inspired interesting debates for decades. Drawing on a new perspective, the current study tried to explain how narcissism influences others' creativity evaluation in the organizational context. Based on the theory of impression management, we suggested that narcissism and creativity may have a more complex relationship rather than a simple linear link. To test this relationship, we conducted a survey of 596 subordinates and 60 leaders in three hightechnology companies. The result showed that there was an inverted U-shaped relationship between narcissism and creativity evaluation. Moreover, personal reputation mediated this curvilinear relationship and this relationship was significant only when narcissists were low in political skill. Theoretical and practical implications, limitations and future directions have also been discussed. [ABSTRACT FROM AUTHOR]

Why do people experience something as creative? We proposea perspective-change based account of creativity evaluation.Drawing upon structure mapping theory (Gentner, 1983), weshow that people evaluate a simile to be creative when theyspontaneously (Study 1) or are induced (Study 2) to experiencea change in perspective. This account further predicts thatpeople are unlikely to find a simile creative if they are unableto form a working perspective, as is in the case of anomalies.In addition, a simile is unlikely to be evaluated as creative whenpeople’s initial perspectives are sufficient to interpret thesimile, as in the case of literal statements. We further show thatrepeated use of the same perspective suppresses the experienceof perspective change and thus reduces creativity perception(Study 3).

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In today's knowledge economy, effectively signaling one's creative potential can be advantageous. Five experiments demonstrate that cues signaling a person's separateness from others (as opposed to social connectedness) boost evaluations of their creative potential. "Lone" targets—engaging in activities alone—were judged more likely to generate creative ideas compared with targets engaging in identical activities with others. This effect was explained by perceived social independence and was unique to creativity judgments—our manipulation did not influence perceptions of other positive attributes, including ability to generate practical ideas (Studies 1a and 1b). The effect of social independence on perceived creativity was not reducible to perceived nonnormativity and was attenuated when creativity was construed as requiring convergent thinking rather than divergent thinking (Studies 2–4). Findings advance our understanding of how individuals of varying degrees of social connectedness tend to be viewed by others, providing insight into observers' lay beliefs about creative potential. [ABSTRACT FROM AUTHOR]

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts (i.e., pitch class distribution and number of chord types characterizing each harmonization) that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent (i.e., novices appreciated the computational support more than professionals). At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group.

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts (i.e., pitch class distribution and number of chord types characterizing each harmonization) that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent (i.e., novices appreciated the computational support more than professionals). At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group. [ABSTRACT FROM AUTHOR]

Understanding the receiving side of creativity has both scientific and practical value. Creativity can add value to organizations after it is perceived, evaluated, and eventually adopted. In this paper, we review four decades of empirical research on the receiving side of creativity scattered across several business and social science fields. A comprehensive framework surfaces out of our review, indicating four groups of factors affecting the evaluation and adoption of creativity, namely, characteristics of target, creator, perceiver, and context. Although the receiving side of creativity has received far less attention than the generative side in management literature, vibrant research efforts in other scientific fields have built a solid foundation to understand creativity receiving in the workplace. We call for more studies on this important topic and discuss how future research could contribute to its development by advancing conceptual clarity, methodological precision, and integration between theories, disciplines, and different sides of the creative process. [ABSTRACT FROM AUTHOR]

A significant test for software is to task it with replicating human performance, as done recently with creative software and the commercial projectBeyond the Fence(undertaken for a television documentaryComputer Says Show). The remit of this project was to use computer software as much as possible to produce “the world's first computer-generated musical”. Several creative systems were used to generate this musical, which was performed in London's West End in 2016. This paper considers the challenge of evaluating this project. Current computational creativity evaluation methods are ill-suited to evaluating projects that involve creative input from multiple systems and people. Following recent inspiration within computational creativity research from interaction design, here the DECIDE evaluation framework is applied to evaluate theBeyond the Fenceproject. Evaluation finds that the project was reasonably successful at achieving the task of using computational generation to produce a credible musical. Lessons have been learned for future computational creativity projects though, particularly for affording creative software more agency and enabling software to interact with other creative partners. Upon reflection, the DECIDE framework emerges as a useful evaluation “checklist” (if not a tangible operational methodology) for evaluating multiple creative systems participating in a creative task. [ABSTRACT FROM PUBLISHER]

Creative specialists are highly demanded in the tourism labour market. This fact is highlighted in the significance of the study on how creativity is fostered in tourism higher education. The objective of this study is to develop a tool for creativity evaluation. In order to attain this objective a literature review to identify underlying variables used to measure creativity has been done. The most significant models and tools have been analysed. The empirical part of the research provides an analysis of the evaluation of creativity needs of Latvian tourism students. This report analyses the findings of the second stage of the research - a questionnaire survey conducted in a well-acknowledged higher education institution in Latvia providing internationally accredited tourism programs. For this stage of the research questionnaires were randomly distributed among local and international students of tourism programs. The results of the study enabled identification of the most significant factors in evaluating creativity. [ABSTRACT FROM AUTHOR]

Kompetensi mempunyai makna yang luas. Minimal dapat dibedakan atas lima macam kompetensi, yaitu kompetensi dasar, kompetensi umum, kompetensi akademis, kompetensi vokasional dan kompetensi profesional. Dalam program pendidikan umum, konsep kompetensi dapat diterapkan namun demikian konsep dan rumusan kompetensinya berbeda dengan yang diterapkan pada program pendidikan vokasional atau kejuruan. Kurikulum dan pembelajarannya diarahkan kepada penguasaan kompetensi atau kemampuan berpikir tahap tinggi. Proses pembelajaran tidak berhenti pada penguasaan pengetahuan (ingatan) dan pengertian (pemahaman), tetapi dilanjutkan kepada tahapan yang lebih tinggi. Menurut Lorin W. Anderson dan David R. Krathwohl (2001) dilanjutkan kepada tahapan aplikasi, analisis (sintesis), evaluasi dan kreativitas. Karena itu, dalam Pendidikan Umum diharapkan digunakan pendekatan-pendekatan pembelajaran yang lebih mengaktifkan siswa, seperti pembelajaran: diskaveri-inkuiri, bermakna, kontekstual, eksperiensial, komunikatif, pemecahan masalah, pengamatan lingkungan, percobaan, penelitian sederhana, simulasi, bermain peran, praktik langsung, dsb.

The relationship between narcissism and creativity has inspired interesting debates for decades. Drawing on a new perspective, the current study tried to explain how narcissism influences others' creativity evaluation in the organizational context. Based on the theory of impression management, we suggested that narcissism and creativity may have a more complex relationship rather than a simple linear link. To test this relationship, we conducted a survey of 596 subordinates and 60 leaders in three high-technology companies. The result showed that there was an inverted U-shaped relationship between narcissism and creativity evaluation. Moreover, personal reputation mediated this curvilinear relationship and this relationship was significant only when narcissists were low in political skill. Theoretical and practical implications, limitations and future directions have also been discussed., Competing Interests: ZL is employed by China National Petroleum Corporation. The remaining authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2023 Ji, Liu, Liu, Xu and Lin.)

Evaluation is a key factor of creativity: for this reason it should be integrated into a cognitive architecture of a creative artificial agent. The approach illustrated in this paper uses the Psi model, and describes the framework for introducing internal and external evaluations, and how they influence demands and motivation of the artificial agent. Internal evaluation mechanisms drive the creative process, and influence competence of the creative agent. External evaluation acts through certainty, and requires interaction with human users that express both opinions and some subjective quantitative evaluations on the final artwork. The system uses natural language processing techniques in order to infer the satisfaction and the emotional impact of the final product obtained by the creative agent. [ABSTRACT FROM AUTHOR]

Creativity evaluation is critical to product production. This study proposed a scientific-based approach for evaluating creativity. We proposed to determine objectively the creativity level of a comic strip by measuring the degree of diversity of links distribution of Linkography. In Linkography, each move recorded in a graph denotes a concept or idea, and a link represents a connection between two moves, producing a kind of undirected triangular graph. Linkography was originally invented for recording concepts in a collaborative design. Similar to collaborative design, key frames in an animation can be viewed as moves in Linkography. Two experiments were performed to test this approach. Several comic strips were chosen as experiment material and three experts were invited to participate in study 1. In a Linkography, average distance between cluster centers (AD) and the coefficient of variance of number of links (CV) were defined as two creativity indicators and determined by solving the five equations which represents the creativity level of five comic strips. The experiment in study 2 was conducted to verify the effectiveness of AD and CV. Comparing the results of questionnaires with the creativity as calculated by indicators AD and CV; over seventy percent of the results generated from the two methods were consistent. The results of the two studies confirm that the clustering method and the two creativity indicators, AD and CV, are feasible for evaluating the creativity level of a comic strip. [ABSTRACT FROM AUTHOR]

Background in musical improvisation and creativity. What makes musical improvisation creative? And what exactly is it that justifies one improviser being described as more creative than another? For a clearer understanding, it is a practical necessity to use an approach such as those of Berliner (1994) and Gibbs (2010), who make the study of improvisational creativity more tangible by identifying key constituent parts, rather than treat creativity as ineffable (Bailey 1993). Background in computational linguistics. The log likelihood ratio statistic can be used to compare two sets of texts (corpora) to examine word distribution patterns (Rayson & Garside 2000, Dunning 1993). Using this statistic, words are identified which are associated with academic papers on creativity. Lin's similarity measure (Lin 1998) is then used as a basis for clustering words with similar meanings using the algorithm Chinese Whispers (Biemann 2006). Analysis of the clusters reveals fourteen key components of creativity. Aims. To model creativity in musical improvisation by identifying components of creativity using computational linguistics techniques and understanding how each contributes to creativity in improvisation. Main contribution. The paper presents an empirical, language-based approach to understanding creativity in musical improvisation. This approach is based upon treating creativity as having common features that transcend different types of creativity but that vary in importance depending on the type of creativity. Fourteen key components of creativity are identified from an analysis of a corpus of texts on creativity. A study is then conducted to investigate the relative importance of each of these components in musical improvisational. All fourteen components are considered relevant to some degree, but particular significance is attached to three of them: the ability to communicate and interact, the possession of relevant musical knowledge and skills, and emotional engagement and intention. It is notable that the products of improvisation are relatively less important than these process-based aspects. Implications. The work provides a model of musical improvisational creativity as a set of guidelines or benchmarks for evaluating how creative a musical improviser is. Such a detailed understanding helps improvisers identify what areas to work on in order to develop their creativity (Gibbs 2010). [ABSTRACT FROM AUTHOR]

Computational creativity is a flourishing research area, with a variety of creative systems being produced and developed. Creativity evaluation has not kept pace with system development with an evident lack of systematic evaluation of the creativity of these systems in the literature. This is partially due to difficulties in defining what it means for a computer to be creative; indeed, there is no consensus on this for human creativity, let alone its computational equivalent. This paper proposes a Standardised Procedure for Evaluating Creative Systems (SPECS). SPECS is a three-step process: stating what it means for a particular computational system to be creative, deriving and performing tests based on these statements. To assist this process, the paper offers a collection of key components of creativity, identified empirically from discussions of human and computational creativity. Using this approach, the SPECS methodology is demonstrated through a comparative case study evaluating computational creativity systems that improvise music. [ABSTRACT FROM AUTHOR]