The psychoeconomic approach to creativity

Rubenson, Daniel; Runco, Mark A.

doi:10.1016/0732-118x(92)90021-q

Cited by 188 publications

(75 citation statements)

References 14 publications

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“…Perhaps most importantly, only social costs were examined herein. Costs are quite varied (Rubenson & Runco, 1992), and other costs -such as temporal costs -might also be informative. Now that a reliable method is available for the measurement of value, several avenues for additional research are available, including those examining the role of ego-strength and the impact of temporal costs.…”

Section: Limitationsmentioning

confidence: 99%

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The Social “Cost” of Working in Groups and Impact on Values and Creativity

Runco

Hao

Acar

et al. 2016

Creativity. Theories – Research - Applications

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Creative things are always original, but they must be more than just original. They must also have some utility, effectiveness, or value. The present research tested the psychoeconomic definition of "value" and examined how value ratings fluctuated when individuals worked in groups or alone. This psychoeconomic definition of value is very different from that found in previous studies. It was based on ratings obtained after the students participating had been told that their grades depended on their teamwork. Previous studies have used hypothetical ratings of value, but here the ratings were meaningful: there was a contingency placed on making a good decision, and that decision focused on creative teamwork. This investigation also tested the idea that originality and value are both required for creativity. Psychoeconomic theory not only offers an objective and behavioural index of value. It also offers predictions about the "social costs" of working in groups. To test these ideas individuals received two tests of divergent thinking, either while alone (no social cost), working in a small group (low cost), or working in a larger group (high cost). Social preferences were controlled, as was extraversion. Results indicate that fluency did not diminish when the social costs were present. Moreover, originality increased when participants worked in groups. Findings also demonstrated that value judgments can be reliably assessed and that the interaction of value and originality accounted for a significant amount of the variability in creativity ratings.

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Section: Limitationsmentioning

confidence: 99%

“…One untested but compelling approach to the study of values, as they relate to creativity, can be found in the psychoeconomic theory of creativity (Rubenson & Runco, 1992). Psychoeconomic theory applies to creativity in a number of ways, including its description of social settings as "markets" for creative behaviour.…”

mentioning

confidence: 99%

The Social “Cost” of Working in Groups and Impact on Values and Creativity

Runco

Hao

Acar

et al. 2016

Creativity. Theories – Research - Applications

Self Cite

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“…According to this theory, creative people are ones who are willing and able to "buy low and sell high" in the realm of ideas (see also Rubenson & Runco, 1992, for use of concepts from economic theory). Buying low means pursuing ideas that are unknown or out of favor but that have growth potential.…”

Section: Terms Of the Theorymentioning

confidence: 99%

Creating a vision of creativity: The first 25 years.

Sternberg¹

2006

Psychology of Aesthetics, Creativity, and the Arts

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This article describes three stages of my attempts to understand, measure, and develop creative thinking. The first stage explored creative intelligence. The second investigated a theory of creativity, the investment theory. The third proposed a theory of creative leadership. Together, these three stages comprise the development of my thought on creativity-its nature, measurement, and development.Keywords: creativity, abilities, motivation, personality, intelligence For roughly 25 years, I have been trying to understand creativity and its various aspects. Because this article is based on an American Psychological Association (APA) Division 10 Arnheim Award address for career achievement studying creativity, this seems like a good time to review what I think I have learned in 25 years.My goal has been to create some kind of vision of creativity: What is it, how can it be measured, how can it be developed? Over the course of the years, my attempts to understand creativity have gone roughly through three stages. The stages have not been wholly sequential. Sometimes I would proceed to a next stage, only later to go back to an earlier one. My goal always has been to broaden and deepen my, and, I hope, others' understanding of creativity.What has changed over the years are not the "answers." I have not found anything earlier that I later retracted or ceased to believe. Rather, what have changed are the questions. As time has gone on, the questions that have seemed important to ask have changed as my research interests have developed. Stage 1: Creative Intelligence Early Studies of IntelligenceMy earliest work was on intelligence (e.g., Sternberg, 1977Sternberg, , 1979. I was trying to understand the mental representations and processes involved in solving problems on intelligence tests. But after some number of years, I came to the conclusion that this approach was narrow, because the kinds of items used on these tests covered only a narrow range. My original "componential subtheory" of intelligence (Sternberg, 1980) came to seem too narrow. Instead of trying to understand intelligence only in terms of the components of analytical intelligence, I tried to understand as well other kinds of intelligence, in particular, creative and practical thinking. I proposed what I referred to as a "triarchic" theory of intelligence (Sternberg, 1984(Sternberg, , 1985. One of the three kinds of intelligence that I concerned myself with, the topic of discussion here, is creative intelligence. I then expanded my thinking to a theory of "successful" intelligence, which emphasized the importance not only of one's pattern of analytical, creative, and practical intelligence, but also of capitalizing on strengths and compensating for or correcting weaknesses (Sternberg, 1997a(Sternberg, , 1999a. The Move to Studying Creative IntelligenceIntelligence tests contain a range of problems, some of them more novel than others. In some of our componential work, we have shown that when one goes beyond the range of unconventionality of the convention...

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“…At the same time of exploiting the creativity, the employee will let himself or herself get into a dangerous situation because the new idea sometimes involves risk, uncertain and fail (Andriopoulos and Lowe, 2000;Rubenson and Runco, 1992). However, not only for employees but leaders have the same degree of failing risk under this situation, so trust between each other is really important (Smith, 2002).…”

Section: Introductionmentioning

confidence: 99%

The Perceived Leader Support Behavior for Subordinate's Creativity: The Moderating Effect of Trust

Chen¹

2011

Journal of Social Sciences

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Problem statement:The main goal behind this study tries to figure out whether or not the leader's supportive behavior will influence subordinates' creativity and is there any affection of trust between leaders' supportive behavior and subordinates' creativity? Approach: This study was conducted to examine the relationships between leader support behavior and subordinate creativity and the moderating effect of trust on subordinates' creativity under the leader support behavior. Results: From the analysis, we found the supportive behavior of leaders, employees' creativity and employee to leaders' trust is significant related and trust is also partial moderating. Conclusion: Based on the finding of the this study, we argue that leadership of creative subordinates required leader support behavior and trust in management, thus, the creativity in organization could be enhanced.

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The psychoeconomic approach to creativity

Cited by 188 publications

References 14 publications

The Social “Cost” of Working in Groups and Impact on Values and Creativity

The Social “Cost” of Working in Groups and Impact on Values and Creativity

Creating a vision of creativity: The first 25 years.

The Perceived Leader Support Behavior for Subordinate's Creativity: The Moderating Effect of Trust

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