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This paper examines the concept of creative potential as it applies in science. First, conceptual issues concerning the definition of creative potential are explored, highlighting that creative potential is a moving target, and measures of creative potential are estimates of future behavior. Then three main ways to detect creative potential are examined. First, a person’s previous accomplishments in science can be analyzed. These accomplishments can be regarded as predictors of future creative performance. Second, science talent competitions can help to detect creative potential in children and adolescents. There are particular types of talent competitions differing from each other by the extent of focusing on individual (e.g., Science Fairs) or collaborative (e.g., Science Olympiads) work. Third, to measure an individual’s creative potential, psychometric tools such as Creative Scientific Ability Test (C-SAT), Test of Scientific Creativity Animations for Children (TOSCAC), and Evaluation of Potential Creativity (EPoC) can be used. These tools are conceptualized in terms of two scientific activities: hypothesis generation and hypothesis testing. In a final section, these three types of measures are placed in a novel time-space framework as applied to creative potential. Suggestions for future work are also discussed.

In the present work we explored in two separate studies the modulatory role of trait emotional intelligence (EI) over the effect exerted on children’s creative potential by two other key elements defining creativity, namely cognitive resources (here explored through basic executive functions, Study 1) and contextual-environmental factors (that is, teachers’ implicit conceptions of the factors influencing children’s creativity, Study 2). Confirming previous research, executive functions (particularly interference control and working memory) emerged as main predictors of children’s creative performance; however, their positive effect arose especially when associated with a high trait EI level. In the same vein, teachers’ implicit conception about children’s creative potential and about their efficacy in teaching creativity emerged to exert a facilitatory effect on children’ creative potential. This effect occurred particularly when associated with low trait EI levels, affecting differently girls and boys. Trait EI emerged from these studies as an important individual resource to consider in order to understand the potential benefit of other (cognitive and contextual-environmental) resources on children’s creative potential. The implications on the role of trait EI as a constitutional element of children’s creativity, capable of promoting the expression of their creative potential, are discussed.

In this paper, we address the relationship between the intelligence and creativity constructs, by providing equal-level definitions and a parsimonious description of context, allowing the identification of situations in which either one or the other construct prevails, as well as situations in which they overlap and collaborate. The description of context is performed by introducing the metaphor of the space-time continuum, crossing the dimensions of conceptual space S and available time span T, each one varying in continuity from extreme tightness to extreme looseness. The usefulness of the space-time continuum is not limited to the pure comparison between intelligence and creativity, but it can be extended to specific domains. We consider here design of education systems, management styles in business, and development of a creative identity and career. In each case, conceptual space S and available time T take on different and specific nuances, allowing for an in-depth analysis of situations as well as the design of novel approaches. Several paths for future research are highlighted.

Este manifiesto, discutido por 20 académicos y académicas que representan diversas líneas de investigación sobre la creatividad, marca un cambio conceptual dentro de los estudios de este campo. Los enfoques socioculturales han hecho contribuciones sustanciales al concepto de creatividad en las últimas décadas y hoy pueden proporcionar un conjunto de propuestas para guiar nuestra comprensión de la investigación anterior y generar nuevas direcciones en investigación y práctica. Estas proposiciones son urgentemente necesarias en respuesta a la transición de una Sociedad de la Información a una Sociedad Post-Información. A través de las proposiciones descritas aquí, nuestro objetivo es construir un terreno común e invitar a la comunidad de investigadores y profesionales de la creatividad a reflexionar, estudiar y cultivar la creatividad como un fenómeno sociocultural.

This article introduces a theoretical framework to conceptualize the dynamics of the phenomenon of creativity, which is then applied to the specific case of scientific missions for the exploration of the universe. Static definitions of creativity are insufficient for this purpose, as they fail to describe states of creative inconclusiveness as well as the time and culture-dependent estimation of the value of the outcomes of a creative process; therefore, a dynamic definition of creativity is introduced, justified, and adopted to build a dynamic creativity framework. Within this framework, creativity episodes are shown to be mutually interconnected through several mechanisms (past and future concatenation, estimation, and exaptation), to form a dynamic universal creativity process (DUCP), the beginning of which can be traced back to the Big Bang of our universe. The DUCP entails several layers of complexity (material, biological, sociocultural, and artificial), showing that creativity is not only a psychological construct for humans but rather a unifying cosmological principle. Context embeddedness is discussed in-depth, introducing a taxonomy based on the concepts of tightness and looseness as applied to conceptual space and time. This theoretical framework is, then, applied to the discussion of the design, realization, and operations of scientific missions for the exploration of the universe, taking as a reference the terminology adopted by the European Space Agency.

Growing neurophysiological evidence points to a role of alpha oscillations in divergent thinking (DT). In particular, studies have shown a consistent EEG alpha synchronization during performance on the Alternative Uses Task (AUT), a well-established DT task. However, there is a need for investigating the brain dynamics underlying the production of a sequence of multiple, alternative ideas at the AUT and their relationship with idea originality. In twenty young adults, we investigated changes in alpha power during performance on a structured version of the AUT, requiring to ideate four alternative uses for conventional objects in distinct and sequentially balanced time periods. Data analysis followed a three-step approach, including behaviour aspects, physiology aspects, and their mutual relationship. At the behavioural level, we observed a typical serial order effect during DT production, with an increase of originality associated with an increase in ideational time and a decrease in response percentage over the four responses. This pattern was paralleled by a shift from alpha desynchronization to alpha synchronization across production of the four alternative ideas. Remarkably, alpha power changes were able to explain response originality, with a differential role of alpha power over different sensor sites. In particular, alpha synchronization over frontal, central, and temporal sites was able to predict the generation of original ideas in the first phases of the DT process, whereas alpha synchronization over centro-parietal sites persistently predicted response originality during the entire DT production. Moreover, a bilateral hemispheric effect in frontal sites and a left-lateralized effect in central, temporal, and parietal sensor sites emerged as predictors of the increase in response originality. These findings highlight the temporal dynamics of DT production across the generation of alternative ideas and support a partially distinct functional role of specific cortical areas during DT.

The editorial dwells upon the technology-driven evolution from the Industrial to the Post-Information Society, indicating that this transition will bring about drastic transformations in our way of living, starting from the job market and then pervading all aspects at both individual and social levels. Great opportunities will come together with unprecedented challenges to living as we have always known it. In this innovation-filled scenario, it is argued that human creativity becomes the distinctive ability to provide dignity at first and survival in the long term. The term organic creativity is introduced to indicate those conditions, attitudes, and actions that bear the potential to be at the same time productive in socio-economic terms and conducive to human well-being. As a consequence, the role of psychologists in an open cooperation with sociologists, economists, computer scientists, engineers and others, will be as central as ever in establishing healthy collaboration modes between humans and machines, and large investments in related multidisciplinary scientific research are advocated to establish organic creativity as a discipline that should permeate every educational level, as well as our professional and everyday lives.

Intelligent metering systems are being rolled-out on a large-scale worldwide, enabling consumer to make informed choices about consumption patterns and energy saving, while supporting the development of new retail services and products. Unfortunately, the lack of established and shared international standards represents a serious hindrance to be overcome for a complete development of a profitable market. The identification of suitable communication protocols and cost-effective network architectures represent a challenging aspect. In this framework, different network design solutions for wireless smart metering systems at 169 MHz are considered and investigated in this paper, aiming at cost efficient deployment based on extensive re-use of existing infrastructures in urban scenarios, namely, macro-cellular and lighting networks. Coverage assessment and frequency planning issues are addressed, together with an ad hoc measurement campaign carried out to fill the gap in the knowledge of urban propagation in the 169 MHz band. Results show that cost-effective deployment of the intelligent metering network is achievable. Notably, a spatial reuse factor larger than the overall number of available frequency channels might be necessary, thus meaning that the spectral resources shall be also allocated according to a time division scheme, where the hubs are switched off at turn. Anyway, this requirement should not affect the overall reading rate in practical applications.

The creativity of an advertisement campaign is one of the most relevant predictors of its success. Past research has highlighted the relevance of domain-specific experience in enhancing creativity, but the results are controversial. We explored the role of work experience, in terms of number of years spent in the advertisement domain, in various forms of creativity expressed within this specific working domain. We hypothesized a mediator role of experience in the relationship between the individual’s creative potential, as measured through a series of divergent thinking tasks, and creative achievement in the advertisement domain. Moreover, considering the importance of personality in creative achievement, we also explored the influence of the openness-to-experience on advertisers’ creative achievement. A range of measures assessing creative achievement, openness, and divergent thinking abilities in terms of fluency and originality were administered to a group of professionals in the advertisement domain. The results demonstrate a crucial role for experience in the connection between originality and creative achievement. Moreover, our findings extend previous studies by showing that fluency and openness are significant predictors of creative achievement in the advertisement environment. These results emphasize the importance of canalizing the advertiser’s divergent thinking abilities through appropriate routes provided by working experience, raising important implications for future explorations of domain-specific creative achievement within an individual differences framework. Final indications for future developments are provided, with a special emphasis on the replication of these findings in various work domains and in various cultural contexts.

The interaction of emotions with creative cognition is one of the most intriguing topics in the creativity research. In this study, we investigated the extent to which various emotional states influence the evaluation of ideas, which is a crucial component of the creative thinking process. To this end, we used emotional (both positive and negative) and neutral pictures to induce emotional states and then asked participants to evaluate the creativity of exogenous ideas (i.e., those generated by other people) as part of an alternative use evaluation task. As the results of previous studies suggest the existence of a negative bias when judging highly creative ideas, we presented the participants with non-creative, moderately creative, and highly creative uses for everyday objects. Overall, the participants gave higher creativity ratings when under positive emotional engagement than when in negative or neutral conditions. Moreover, neutral and emotional context differently moderated the creativity evaluation of the three object use categories. Specifically, participants gave higher ratings for non-creative uses, and (to a lesser extent) for highly creative uses when in a positive emotional state, than they did when in the neutral condition. On the other hand, when in a negative emotional state, the participants gave lower ratings for moderately creative uses than they did in either the positive or neutral conditions. These data provide initial evidence that emotional states can influence the creativity evaluation of exogenous alternative ideas that are generated through divergent thinking.

This theoretical article proposes a unified framework of analysis for the constructs of intelligence and creativity. General definitions for intelligence and creativity are provided, allowing fair comparisons between the two context-embedded constructs. A novel taxonomy is introduced to classify the contexts in which intelligent and/or creative behavior can be embedded, in terms of the tightness vs. looseness of the relevant conceptual space S and available time T. These two dimensions are used to form what is identified as the space-time continuum, containing four quadrants: tight space and tight time, loose space and tight time, tight space and loose time, loose space and loose time. The intelligence and creativity constructs can be mapped onto the four quadrants and found to overlap more or less, depending on the context characteristics. Measurement methodologies adapted to the four different quadrants are discussed. The article concludes with a discussion about future research directions based on the proposed theoretical framework, in terms of theories and hypotheses on intelligence and creativity, of eminent personalities and personality traits, as well as its consequences for developmental, educational, and professional environments.

The main message carried by this article is that counterpoint can be taken as a model approach for the introduction of contrasting elements, not only in musical composition but also in the generation of ideas in any domain of knowledge. We start by an interdisciplinary review about the power of opposite concepts as constituting elements in nature. This is followed by the description of the DIMAI model for creative thinking, which is founded upon the dual forces of convergent and divergent thinking modalities. The main body of our work is an extraction of divergent modifiers from the Contrapunctus composed by Bach and collected in the Art of Fugue, with simple examples of application to the diversified fields of education and computer science.

With the advent of artificial intelligence (AI), the field of creativity faces new opportunities and challenges. This manifesto explores several scenarios of human--machine collaboration on creative tasks and proposes "fundamental laws of generative AI" to reinforce the responsible and ethical use of AI in the creativity field. Four scenarios are proposed and discussed: "Co-Cre-AI-tion," "Organic," "Plagiarism 3.0," and "Shut down," each illustrating different possible futures based on the collaboration between humans and machines. In addition, we have incorporated an AI-generated manifesto that also highlights important themes, ranging from accessibility and ethics to cultural sensitivity. The fundamental laws proposed aim to prevent AIs from generating harmful content and competing directly with humans. Creating labels and laws are also highlighted to ensure responsible use of AIs. The positive future of creativity and AI lies in a harmonious collaboration that can benefit everyone, potentially leading to a new level of creative productivity respecting ethical considerations and human values during the creative process.