Abstract:Divergent thinking is central to the study of individual differences in creativity, but the traditional scoring systems (assigning points for infrequent responses and summing the points) face well-known problems. After critically reviewing past scoring methods, this article describes a new approach to assessing divergent thinking and appraises its reliability and validity. In our new Top 2 scoring method, participants complete a divergent thinking task and then circle the two responses that they think are their most creative responses. Raters then evaluate the responses on a 5-point scale. Regarding reliability, a generalizability analysis showed that subjective ratings of unusual-uses tasks and instances tasks yield dependable scores with only 2 or 3 raters. Regarding validity, a latent-variable study (n = 226) predicted divergent thinking from the Big Five factors and their higher-order traits (Plasticity and Stability). Over half of the variance in divergent thinking could be explained by dimensions of personality. The article presents instructions for measuring divergent thinking with the new method.

Creative thinking is central to the arts, sciences, and everyday life. How does the brain produce creative thought? A series of recently published papers has begun to provide insight into this question, reporting a strikingly similar pattern of brain activity and connectivity across a range of creative tasks and domains, from divergent thinking to poetry composition to musical improvisation. This research suggests that creative thought involves dynamic interactions of large-scale brain systems, with the most compelling finding being that the default and executive control networks, which can show an antagonistic relationship, actually cooperate during creative cognition and artistic performance. These findings have implications for understanding how brain networks interact to support complex cognitive processes, particularly those involving goal-directed, self-generated thought.

People's ability to think creatively is a primary means of technological and cultural progress, yet the neural architecture of the highly creative brain remains largely undefined. Here, we employed a recently developed method in functional brain imaging analysis-connectome-based predictive modeling-to identify a brain network associated with high-creative ability, using functional magnetic resonance imaging (fMRI) data acquired from 163 participants engaged in a classic divergent thinking task. At the behavioral level, we found a strong correlation between creative thinking ability and self-reported creative behavior and accomplishment in the arts and sciences ( = 0.54). At the neural level, we found a pattern of functional brain connectivity related to high-creative thinking ability consisting of frontal and parietal regions within default, salience, and executive brain systems. In a leave-one-out cross-validation analysis, we show that this neural model can reliably predict the creative quality of ideas generated by novel participants within the sample. Furthermore, in a series of external validation analyses using data from two independent task fMRI samples and a large task-free resting-state fMRI sample, we demonstrate robust prediction of individual creative thinking ability from the same pattern of brain connectivity. The findings thus reveal a whole-brain network associated with high-creative ability comprised of cortical hubs within default, salience, and executive systems-intrinsic functional networks that tend to work in opposition-suggesting that highly creative people are characterized by the ability to simultaneously engage these large-scale brain networks.

Psychologists have always been intrigued in interest, and modern research on interest can be found in nearly every area of the field: researchers studying emotions, cognition, development, education, aesthetics, personality, motivation, and vocations have developed intriguing ideas about what interest is and how it works. This book presents an integrated picture of how interest has been studied in all of the wide-ranging areas of psychology. Using modern theories of cognition and emotion as an integrative framework, it examines the nature of interest, what makes things interesting, the role of interest in personality, and the development of people's idiosyncratic interests, hobbies, and avocations. The examination reveals deep similarities between seemingly different fields of psychology and illustrates the profound importance of interest, curiosity, and intrinsic motivation for understanding why people do what they do. A comprehensive work devoted to interest, this book reviews the history of psychological thought on interest, presents classic and modern research, and suggests fruitful directions for future work.

Relative to other emotions, interest is poorly understood. On the basis of theories of appraisal process and structure, it was predicted that interest consists of appraisals of novelty (factors related to unfamiliarity and complexity) and appraisals of coping potential (the ability to understand the new, complex thing). Four experiments, using in vivo rather than retrospective methods, supported this appraisal structure. The findings were general across measured and manipulated appraisals, interesting stimuli (random polygons, visual art, poetry), and measures of interest (self-reports, forced-choice, behavioral measures). Furthermore, the appraisal structure was specific to interest (it did not predict enjoyment, a related positive emotion), and appraisals predicted interest beyond relevant traits (curiosity, openness). The appraisal perspective offers a powerful way of construing the causes of interest.