The structure and correlates of emotional creativity were explored in a series of six studies, using a specially constructed measure of individual differences—the Emotional Creativity Inventory (ECI). Analyses of the ECI suggest that three facets of emotional creativity can be distinguished empirically as well as theoretically, namely, preparedness (understanding and learning from one’s own and others’ emotions), novelty (the ability to experience unusual emotions), and effectiveness/authenticity (the skill to express emotions adroitly and honestly). Women score higher than men on emotional preparedness and effectiveness/authenticity, but not on the novelty of their responses. People who score high on the ECI are considered by their peers to be more emotionally creative, presumably on the basis of everyday behavior. Associations between emotional creativity as measured by the ECI and a variety of other personality variables (including the Big Five personality traits, mysticism, self‐esteem, authoritarianism, locus of control, alexithymia, and ways of coping) are examined, as is the relation between emotional creativity and prior traumatic experiences.

The authors examined the relations among intelligence, personality, and creativity. They consider the concept and definition of creativity in conjunction with the qualifications that researchers in the field have suggested. The present authors briefly refer to historiometric studies but focus on psychometric intelligence and its relations to tests of divergent thinking (DT) and ratings of creativity. The authors consider the relation between personality and creativity in the context of Eysenckian 3-factor and 5-factor models of personality and with reference to DT tests and ratings of creativity. The authors also present recommendations for the future study of creativity.

Large language models possess remarkable capacity for processing language, but it remains unclear whether these models can further generate creative content. The present study aims to investigate the creative thinking of large language models through a cognitive perspective. We utilize the divergent association task (DAT), an objective measurement of creativity that asks models to generate unrelated words and calculates the semantic distance between them. We compare the results across different models and decoding strategies. Our findings indicate that: (1) When using the greedy search strategy, GPT-4 outperforms 96% of humans, while GPT-3.5-turbo exceeds the average human level. (2) Stochastic sampling and temperature scaling are effective to obtain higher DAT scores for models except GPT-4, but face a trade-off between creativity and stability. These results imply that advanced large language models have divergent semantic associations, which is a fundamental process underlying creativity.

Despite decades of extensive research on creativity, the field still combats psychometric problems when measuring individual differences in creative ability and people's potential to achieve real-world outcomes that are both original and useful. We think these seemingly technical issues have a conceptual origin. We therefore propose a minimal theory of creative ability (MTCA) to create a consistent conceptual theory to guide investigations of individual differences in creative ability. Building on robust theories and findings in creativity and individual differences research, our theory argues that creative ability, at a minimum, must include two facets: intelligence and expertise. So, the MTCA simply claims that whenever we do something creative, we use most of our cognitive abilities combined with relevant expertise to be creative. MTCA has important implications for creativity theory, measurement, and practice. However, the MTCA isn't necessarily true; it is a minimal theory. We discuss and reject several objections to the MTCA.

ABSTRACT Creativity is universally recognized as a vital characteristic in education, research and science, arts and design, engineering and technology, marketing and advertising, and business and entrepreneurship. Specifically, creativity is an essential quality in design-based domains, particularly architecture. Given the existing limitations in prior research, primarily consisting of theoretical descriptions or investigations with restricted parameters, this study employs a comprehensive and empirical methodology to examine and evaluate the indicative factors associated with creativity. The theoretical framework is constructed with three indicators (Individual Knowledge, Divergent Thinking, Intellectual Intelligence) and two (Personality Traits, Motivation) categorized under Cognitive and Affective-Conative resources. These resources are drawn from the notion known as the ‘Trilogy of mind.’ A questionnaire consisting of 30 items was administered to a sample of 349 participants, including architects, academicians, and students. The results indicate that Affective-Conative resources play a more substantial role in promoting creativity than Cognitive Resources. Additionally, Affective-Conative resources serve as a mediating factor between Cognitive resources and creativity.