Search

Both creativity and responsibility are important higher-order skills to develop to meet the challenges of the Anthropocene, and both are related to attentional states of consciousness and to ethics. Meditation is a set of practices that trains attentional and emotional regulation. A few studies have shown that different kinds of meditation can foster different kinds of creative thinking, and others have begun to investigate the effect of the combination of meditation and ethics on ethical characteristics (but not yet on creativity or precisely on responsibility, so far). Here, we present a nonrandomized trial with an active control group among second-year science university students (n = 84) to test the effect of the secular Meditation-Based Ethics of Responsibility (MBER) program on creative potential, self-reported awareness, and sense of one's own responsibility. The results show a large effect of the program on sense of one's own responsibility and convergent and divergent creative writing tasks, both in conceptual-semantic and engineering-like verbal ideation. They also suggest that convergent conceptual-semantic thinking might moderate the effect of the MBER program on the awareness and sense of one's own responsibility. This work opens up new research and educational perspectives linked to necessary behavioral changes in the Anthropocene.

As an artificial space extended from the physical environment, the virtual environment (VE) provides more possibilities for humans to work and be entertained with less physical restrictions. Benefiting from anonymity, one of the important features of VEs, users are able to receive visual stimuli that might differ from the physical environment through digital representations presented in VEs. Avatars and contextual cues in VEs can be considered as digital representations of users and contexts. In this article, we analyzed 21 articles that examined the creativity-boosting effects of different digital user and contextual representations. We summarized the main effects induced by these two digital representations, notably the effect induced by the self-similar avatar, Proteus effect, avatar with Social Identity Cues, priming effect induced by contextual representation, and embodied metaphorical effect. In addition, we examined the influence of immersion on creativity by comparing non-immersive and immersive VEs (i.e., desktop VE and headset VE, respectively). Last, we discussed the roles of embodiment and presence in the creativity in VEs, which were overlooked in the past research.

The distinction between hard and soft skills has long been a topic of debate in the field of psychology, with hard skills referring to technical or practical abilities, and soft skills relating to interpersonal capabilities. This paper explores the generic composition of any skill, proposing a unified framework that consists of five distinct components: knowledge, active cognition, conation, affection, and sensory-motor abilities. Building upon previous research and theories, such as Hilgard's "Trilogy of Mind", the generic skill components approach aims to provide a comprehensive understanding of the structure and composition of any skill, whether hard or soft. By examining these components and their interactions, we can gain a more in-depth understanding of the nature of skills and their development. This approach has several potential applications and implications for various fields, including education, training, and workplace productivity. Further research is needed to refine and expand upon the generic skill components theory, exploring the interactions between the different components, as well as the impact of contextual factors on skill development and use.

This article addresses educational challenges posed by the future of work, examining "21st century skills", their conception, assessment, and valorization. It focuses in particular on key soft skill competencies known as the "4Cs": creativity, critical thinking, collaboration, and communication. In a section on each C, we provide an overview of assessment at the level of individual performance, before focusing on the less common assessment of systemic support for the development of the 4Cs that can be measured at the institutional level (i.e., in schools, universities, professional training programs, etc.). We then present the process of official assessment and certification known as "labelization", suggesting it as a solution both for establishing a publicly trusted assessment of the 4Cs and for promoting their cultural valorization. Next, two variations of the "International Institute for Competency Development's 21st Century Skills Framework" are presented. The first of these comprehensive systems allows for the assessment and labelization of the extent to which development of the 4Cs is supported by a formal educational program or institution. The second assesses informal educational or training experiences, such as playing a game. We discuss the overlap between the 4Cs and the challenges of teaching and institutionalizing them, both of which may be assisted by adopting a dynamic interactionist model of the 4Cs-playfully entitled "Crea-Critical-Collab-ication"-for pedagogical and policy-promotion purposes. We conclude by briefly discussing opportunities presented by future research and new technologies such as artificial intelligence and virtual reality.

Although soft skills training is called for by many scholars and managers, empirical studies on concrete training programs are scarce and do not always have the methodological rigor that is necessary to draw meaningful conclusions about their impact. In the present research, we investigate the effects of a new soft skills metacognition training program on self-efficacy and adaptive performance. To test these effects, we conducted an experiment with a sample of employees of a large firm ( n = 180). The experiment included pre- and post-measurements and a control condition. The results suggested that participating in the training led to an increase in soft skills metacognition, self-efficacy, and four dimensions of adaptive performance, compared to a control condition. Mediation analyses suggested that an increase in soft skills metacognition led to an increase in self-efficacy, which led, in turn, to an increase in adaptive performance. Theoretical and practical implications are discussed, as well as limitations.

In this review of emotion, emotional intelligence (EI) and creativity, we look at the various ways that these topics can be explored together using the seven Cs of Creativity as a structuring framework. The seven Cs of creativity are: creators, creating, collaborations, contexts, creations, consumption and curricula, representing the different facets of creativity research. The question of emotion and creativity has a long historical lineage, which has led up to the study of intelligent and dynamic aspects of emotion and their impact on creativity. Previous and emerging work on EI, related emotional aspects and creativity offer promising ways to advance this field of research. However, we show that some aspects of creativity and EI are less explored than others. We offer several implications for the direction of future work.

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., Competing Interests: The 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 © 2022 Lubart, Kharkhurin, Corazza, Besançon, Yagolkovskiy and Sak.)

Based on social cognitive theory, we propose that self-efficacy is a personal resource that protects people from the impact of confinement in the context of the COVID-19 pandemic. In a longitudinal study where 197 French citizens were surveyed over 8 weeks of confinement (though only 25 participants responded each of these 8 weeks), we examined the relationships between general self-efficacy and positive affect, negative affect and adaptive performance at work. Consistent with theoretical expectations, self-efficacy was relatively stable during confinement and was positively related to positive affect and negatively related to negative affect. Self-efficacy was also positively correlated with all dimensions of adaptive performance at work during confinement. The role of self-efficacy as a protective factor against depressive risks induced by the stressful COVID-19 pandemic is discussed.

There is a growing literature concerning robotics and creativity. Although some authors claim that robotics in classrooms may be a promising new tool to address the creativity crisis in school, we often face a lack of theoretical development of the concept of creativity and the mechanisms involved. In this article, we will first provide an overview of existing research using educational robotics to foster creativity. We show that in this line of work the exact mechanisms promoted by robotics activities are rarely discussed. We use a confluence model of creativity to account for the positive effect of designing and coding robots on students' creative output. We focus on the cognitive components of the process of constructing and programming robots within the context of existing models of creative cognition. We address as well the question of the role of meta-reasoning and emergent strategies in the creative process. Then, in the second part of the article, we discuss how the notion of creativity applies to robots themselves in terms of the creative processes that can be embodied in these artificial agents. Ultimately, we argue that considering how robots and humans deal with novelty and solve open-ended tasks could help us to understand better some aspects of the essence of creativity., Competing Interests: The 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. The reviewer MB declared a past co-authorship with one of the authors TL to the handling editor., (Copyright © 2021 Gubenko, Kirsch, Smilek, Lubart and Houssemand.)

In many countries, the COVID-19 pandemic led to a period of lockdown that impacted individuals' lifestyles, in both professional and personal spheres. New problems and challenges arose, as well as opportunities. Numerous studies have examined the negative effects of lockdown measures, but few have attempted to shine light on the potential positive effects that may come out of these measures. We focused on one particular positive outcome that might have emerged from lockdown: creativity. To this end, this paper compared self-reported professional creativity (Pro-C) and everyday creativity (little-c) before and during lockdown, using a questionnaire-based study conducted on a French sample ( N = 1266). We expected participants to be more creative during than prior to lockdown, in both professional and everyday spheres. Regarding Pro-C, we did not see any significant differences between the two comparison points, before and during lockdown. Regarding everyday creativity, we observed a significant increase during lockdown. Furthermore, our results suggest that participants with a lower baseline creativity (before lockdown) benefited more from the situation than those with a higher initial baseline creativity. Our results provide new insights on the impact of lockdown and its positive outcomes. These measures may have inarguably negative consequences on the physical and mental health of many, but their positive impact exists as well., Competing Interests: The 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 © 2021 Mercier, Vinchon, Pichot, Bonetto, Bonnardel, Girandola and Lubart.)

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.

We investigated the social representation of fair price of French and English-speaking photographers using the free association method. In two independent studies, we performed a factorial analysis of correspondence of the words provided by the participants as well as a similitude analysis. The results indicated that "fair price" was mainly associated with time, effort and experience level of photographers. Both French- and English-speaking samples made similar associations around the concept of fair price but the order of importance varied. We observed some gender-related differences in both samples, although the relative number of male and female participants must be taken into consideration., Competing Interests: The authors have declared that no compenting interests exist.

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., (Copyright © 2020 Corazza and Lubart.)

Current empirical evidence does not seem to confirm that an improvement in living conditions is the cause of the shift in the human mindset toward innovation and long-term risky investment. However, it may well be one of the conditions for greater tolerance of income inequality in exchange for a steady increase in average income.

Some studies suggest a link between creativity and rapid eye movement sleep. Narcolepsy is characterized by falling asleep directly into rapid eye movement sleep, states of dissociated wakefulness and rapid eye movement sleep (cataplexy, hypnagogic hallucinations, sleep paralysis, rapid eye movement sleep behaviour disorder and lucid dreaming) and a high dream recall frequency. Lucid dreaming (the awareness of dreaming while dreaming) has been correlated with creativity. Given their life-long privileged access to rapid eye movement sleep and dreams, we hypothesized that subjects with narcolepsy may have developed high creative abilities. To test this assumption, 185 subjects with narcolepsy and 126 healthy controls were evaluated for their level of creativity with two questionnaires, the Test of Creative Profile and the Creativity Achievement Questionnaire. Creativity was also objectively tested in 30 controls and 30 subjects with narcolepsy using the Evaluation of Potential Creativity test battery, which measures divergent and convergent modes of creative thinking in the graphic and verbal domains, using concrete and abstract problems. Subjects with narcolepsy obtained higher scores than controls on the Test of Creative Profile (mean ± standard deviation: 58.9 ± 9.6 versus 55.1 ± 10, P = 0.001), in the three creative profiles (Innovative, Imaginative and Researcher) and on the Creative Achievement Questionnaire (10.4 ± 25.7 versus 6.4 ± 7.6, P = 0.047). They also performed better than controls on the objective test of creative performance (4.3 ± 1.5 versus 3.7 ± 1.4; P = 0.009). Most symptoms of narcolepsy (including sleepiness, hypnagogic hallucinations, sleep paralysis, lucid dreaming, and rapid eye movement sleep behaviour disorder, but not cataplexy) were associated with higher scores on the Test of Creative Profile. These results highlight a higher creative potential in subjects with narcolepsy and further support a role of rapid eye movement sleep in creativity., (© The Author(s) (2019). Published by Oxford University Press on behalf of the Guarantors of Brain. All rights reserved. For Permissions, please email: journals.permissions@oup.com.)

Within the literature on creativity in the arts, some authors have focused on the description of the artistic process (Patrick, 1937; Getzels and Csikszentmihalyi, 1976; Mace and Ward, 2002; Yokochi and Okada, 2005) whereas others have focused on the creative process (Wallas, 1926; Osborn, 1953/1963; Runco and Dow, 1999; Howard et al., 2008). These two types of processes may be, however, somewhat distinct from each other because the creative process is not always dedicated to artistic creation, and productive work in the arts may not always involve creativity, in terms of specifically original thinking. Our goal is to identify the specific nature of the artistic creative process, to determine what are the basic stages of this kind of process. This description can then be integrated in a Creative process Report Diary (CRD; Botella et al., 2017) which allows self-observations in situ when participants are creating.

In the present study we experimentally manipulated language switching among bilinguals who indicated to be more or less habitual language switchers in daily life. Our aim was to investigate the impact of forced language switching on originality of produced ideas during divergent thinking, conditional on the level of habitual language switching. A sample of bilinguals was randomly assigned to perform alternate uses tasks (AUT's), which explicitly required them to either switch languages, or to use only one language while performing the tasks. We found that those who were instructed to switch languages during the AUT's were able to generate ideas that were on average more original, than those who were instructed to use only one language during the AUT's, but only at higher levels of habitual language switching. At low levels of habitual language switching, the effect reversed, and participants who were instructed to use only one language found ideas that were on average more original, than participants who were required to switch languages during the AUT's. Implications and limitations are discussed.

Scientific careers depend largely on the evaluation of one's merit. Yet scientists agree that the measurement of merit is quite a complex endeavor. Some indicators exist, such as Hirsch's well-known h index, but none can fully capture the complexity of the notion of merit. We propose that the h factor should be complemented with additional useful measurements: the t, o, u, and g indexes.

Because of the range of design possibilities they provide, virtual environments have a promising potential to support creative work. This article presents an experiment that explores the effects of contextual cues, provided in a virtual environment, on performance in a creative task. One hundred thirty-five participants completed a classical creativity task in one of three environments: a virtual creativity-conducive environment (CCE), comprising standardized elements identified from a survey as being characteristic of environments that support creativity, a real meeting room (real control environment), and its virtual replication (virtual control environment). Results show that participants produced more original ideas and explored idea categories in greater depth in the CCE than in the control conditions. These results were discussed in terms of research on creativity, priming, virtual environments, and of the design of workplaces.

When taking into account the chances of success, strategic mating motivations do imply a bias not toward the most attractive individuals, but toward average or mildly attractive individuals, undermining the explanation of Maestripieri et al. at a fundamental level. This leaves open the possibility of alternative explanations and calls for a full-fledged explicit model of courtship behavior.

The present paper outlines an action theory of creativity and substantiates this approach by investigating creative expression in five different domains. We propose an action framework for the analysis of creative acts built on the assumption that creativity is a relational, inter-subjective phenomenon. This framework, drawing extensively from the work of Dewey (1934) on art as experience, is used to derive a coding frame for the analysis of interview material. The article reports findings from the analysis of 60 interviews with recognized French creators in five creative domains: art, design, science, scriptwriting, and music. Results point to complex models of action and inter-action specific for each domain and also to interesting patterns of similarity and differences between domains. These findings highlight the fact that creative action takes place not "inside" individual creators but "in between" actors and their environment. Implications for the field of educational psychology are discussed.

Temporal processing deficit could be associated with a specific difficulty in learning to read. In 1951, Stambak provided preliminary evidence that children with dyslexia performed less well than good readers in reproduction of 21 rhythmic patterns. Stambak's task was administered to 1,028 French children aged 5-6 years. The score distribution (from 0 to 21) was quasi-normal, with some children failing completely and other performing perfectly. In second grade, reading was assessed in 695 of these children. Kindergarten variables explained 26% of the variance of the reading score at second grade. The Stambak score was strongly and linearly related to reading performance in second grade, after partialling out performance on other tasks (oral repetition, attention, and visuo-spatial tasks) and socio-cultural level. Findings are discussed in relation to perceptual, cerebellar, intermodal, and attention-related theories of developmental dyslexia. It is concluded that simple rhythm reproduction tasks in kindergarten are predictive of later reading performance.

A study of perception of affective pictures from the International Affective Photo System, using the Self Assessment Manikin scale, was conducted. It was hypothesized that participants' affective ratings could be moderated by a subjective experience of success or failure. Analysis, based on a sample of 36 university students, showed an approach tendency for women when they were exposed to positive pictures in the success condition. This approach tendency was associated with relatively shorter processing times and high affective ratings. Men showed relatively shorter processing times and high affective ratings when exposed to negative pictures. For memory-related measures, the highest scores were observed in the success condition for exposure to pleasant pictures. The results are discussed in terms of affective-related self-regulatory tendencies moderated by sex.

Existent neurocognitive models of schizophrenia converge towards a core of impairments involving working memory, context processing, action planning, controlled and intentional processing. However, the emergence of this core remains itself difficult to explain and more specific hypotheses do not explain the heterogeneity of schizophrenia. To overcome these limits, we propose a new paradigm based on representational theory from cognitive science. Some recent developments of this theory enable us to describe a subjective universe as a representational space which is displayed from memory. We outline a conceptual framework to construct such a representational space from analogical -representations that can be activated in working memory and are connected to a network of symbolic structures. These connections are notably made through an analytic process of the analogical fragments, which involves the attentional focus. This framework allows us to define rigorously some defense processes in response to traumatic tensions that are expressed on the representational space. The fragmentation of representational space is a consequence of a defensive denial based on an impairment of the analytic process. The fragmentation forms some parasitic areas in memory which are excluded from the main part of the representational space and disturb information processing. The key clinical concepts of paranoid syndromes can be defined in this conceptual framework: mental automatism, delusional intuition, acute destructuration, psychotic dissociation, and autistic withdrawal. We show that these syndromes imply each other, which in return increases the fragmentation of the representational space. Some new concepts emerge naturally in this framework, such as the concept of "suture" which is defined as a link between a parasitic area and the main representational space. Schizophrenia appears as a borderline case of fragmentation of the representational space. This conceptual framework is compatible with numerous etiological factors. Multiple clinical forms can be differentiated in accordance with the persistence of parasitic areas, the degree of fragmentation, and the formation of sutures. We use this approach to account for an empirical study concerning the analysis of analogical representations in schizophrenia. We used the Parallel Visual Information Processing Test (PVIPT) which assesses the analysis of interfering visual information. Subjects were asked to connect several small geometric figures printed on a transparency. The transparency was displayed above four photographs which were the interfering material. Then, subjects completed three tasks concerning the photographs: a recognition task, a recall task, and an affective qualification task. Using a case-by-case study, this test allows us to access the defense processes of the subjects, which is not possible with the usual methods in cognitive psychopathology. Twelve clinically-stable schizophrenic subjects participated in the study which also included a self-assessment of alexithymia by the Toronto Alexithymia Scale. We obtained 2 main results: (a) creation of items in recall or false recognition by 8 subjects, and (b) lack of the usual -negative correlations between the alexithymia score and the recall, recognition and affective qualification scores in the PVIPT. These 2 results contrast with what has been previously observed for alexithymia using the same methodology. The result (a) confirms an interfering activation in schizophrenic memory, which can be interpreted in our framework as indicative of parasitic areas. The creation of items suggests the formation of sutures between the semantic content of photographs and some delusional fragments. The result (b) suggests that the apparent alexithymia in schizophrenia is a defense against interfering activation in parasitic areas. We underline the interest of individual protocols to exhibit the dynamic interplay between an interfering activity in memory and a defensive flattening of affects.

Children's creative potential is often assessed using cognitive tests that require divergent thinking, such as the Torrance Tests of Creative Thinking (TTCT; E. P. Torrance, 1974, 1976, 1990). In this study the authors investigated the effect of various scoring systems on the originality index, evaluating the high intercorrelation of fluency and originality measures found in the TTCT scoring system and the applicability of TTCT scoring norms over time and across age groups. In 3 studies, the originality of elementary school children was measured using TTCT norms and various sample-specific scoring methods with the TTCT Unusual Uses of a Box test as well as social-problem-solving tasks. Results revealed an effect of scoring technique on creativity indices as well as on the reliability of originality scores and the relationship between originality and other ability measures. The usefulness of the various measures for understanding children's original thinking are discussed.

An experiment was conducted to investigate the relative contributions of syntactic form and content to conditional reasoning. The content domain chosen was that of causation. Conditional statements that described causal relationships (if mean value of cause, then mean value of effect) were embedded in simple arguments whose entailments are governed by the rules of truth-functional logic (i.e., modus ponens, modus tollens, denying the antecedent, and affirming the consequent). The causal statements differed in terms of the number of alternative causes and disabling conditions that characterized the causal relationship. (A disabling condition is an event that prevents an effect from occurring even though a relevant cause is present). Subjects were required to judge whether or not each argument's conclusion could be accepted. Judgements were found to vary systematically with the number of alternative causes and disabling conditions. Conclusions of arguments based on conditionals with few alternative causes or disabling conditions were found to be more acceptable than conclusions based on those with many.