We investigate whether piece-rate and competitive incentives affect creativity, and if so, how the incentive effect depends on the form of the incentives. We find that while both piece-rate and competitive incentives lead to greater effort relative to a base-line with no incentives, neither type of incentives improve creativity relative to the base-line. More interestingly, we find that competitive incentives are in fact counter-productive in that they reduce creativity relative to base-line condition. In line with previous literature, we find that competitive conditions affect men and women differently: whereas women perform worse under competition than the base-line condition, men do not.

The design provides innovative solutions to problems in the medical field. Collaboration between design and medicine can be fostered in several ways; however, educational programs linking these two academic fields are limited, and their frameworks and effectiveness are unknown. Hence, we launched an educational project to address medical problems through design. The framework and creative outcomes are based on the results of two consecutive one-year programs. The research subjects were 35 participants from three departments. The majority (22/35, 63%) were master’s and doctoral students in design. Eight participants were doctoral students and researchers who volunteered from the surgery, oral surgery, neurology and nursing departments at the Graduate School of Medicine and Hospital. The impact of the program on creativity was evaluated by the quality of ideas and the participants’ assessments. In total, 424 problems were identified and 387 ideas were created. Nine prototypes with mock-ups and functional models of products, games or service designs were created and positively evaluated for novelty, workability and relevance. Participants benefitted from the collaboration and gained new perspectives. Career expectations increased after the class, whereas motivation and skills remained high. A framework for a continuing educational program was suggested.

The link between creativity and serious mental illness (SMI) is widely discussed. Jackson Pollock is one example of a giant in the field of art who was both highly creative and experiencing an SMI. Pollock created a new genre of art known as abstract expressionism (“action painting”) defined as showing the frenetic actions of painting. The question arises whether his SMI played any role in the way he created his drip paintings, especially when he was overactive and manic. Furthermore, did visual hallucinations or enhanced visual perception associated with mania or psychosis facilitate Pollock in embedding and camouflaging images under layers of thrown paint? Seeing images in Pollocks drip paintings has been a controversy ever since these paintings were created. Some experts attribute this to pareidolia—perceiving specific images out of random or ambiguous visual patterns—a phenomenon known to be enhanced by fractal fuzzy edges such as seen in Rorschach ink blots as well as in Pollock drip paintings. So, are Pollock’s drip paintings merely giant Rorschach images, or did Pollock insert polloglyphs—images that are encrypted that tell a story about Pollock’s inner being—into his paintings and then disguise them with drippings? Here, we explore answers to these questions and discuss images that Pollock included in his earliest sketches and used repeatedly in his abstract paintings and later in his drip paintings to argue that these images are not accidental.

This study investigates how L2 proficiency contributes to creativity in relation to personality among 205 young adolescent English-as-a-foreign-language learners from rural China. Participants completed the Cambridge A2 Key for Schools English Test to assess English proficiency, the Chinese Big Five Personality Inventory to evaluate personality traits, and the Evaluation of Potential Creativity to measure creativity, operationalized as divergent and convergent thinking in verbal and graphic domains. Pearson correlation analyses revealed that L2 proficiency was positively associated with both divergent and convergent thinking across verbal and graphic domains, while Openness to Experience and Extraversion were positively linked to creativity components, albeit partially depending on the domain. Conscientiousness, Agreeableness, and Neuroticism showed no significant associations with creativity. Structural equation modeling further demonstrated that L2 proficiency, Openness, and Extraversion directly co-predicted creativity components, excluding convergent thinking in the verbal domain.

Can exposure to a foreign language in the first year of school enhance divergent thinking skills? Ninety-nine monolingual children from predominantly White neighbourhoods (MAge = 57.7 months, SD 1.2; 47 girls) attending bilingual schools, schools with weekly foreign language lessons, or schools without a foreign language provision (= controls) completed divergent thinking and executive function tasks at the beginning of the school year and 24 weeks later. The groups did not differ on creativity measures at the beginning of the school year. Only bilingual school children and weekly language learners improved divergent thinking at the second testing point, with the former significantly outperforming controls on creative fluency and flexibility. Improvements could not be explained by executive function development. Therefore, a considerable amount of exposure to a foreign language in early formal education appears to boost creative thinking.

This article delves into the intricacies of the relationship between bilingualism and creativity. It provides an overview of past research and examines its methodology. It introduces a multilingual creative cognition theoretical framework that focuses on the cognitive mechanisms underlying creative potential and how these mechanisms might benefit from an individual’s multilingual abilities. The link between multilingualism and creative potential is explained by multilingual developmental factors such as proficiency, age, and sociocultural context of language acquisition, as well as cognitive functions such as language-mediated concept activation, selective attention, code-switching, and metaphor. However, the multilingual creative cognition approach takes a narrow perspective. By synthesizing empirical evidence and theoretical insights, the article proposes a plurilingual creativity framework – a multifaceted approach that transcends traditional bilingualism and creative cognition frameworks. It underscores the significance of a comprehensive language repertoire, multicultural experiences, and intercultural competence as pivotal elements enriching various aspects of creative endeavor. The article also introduces the Plurilingual Intercultural Creative Keys educational program, which aims to develop plurilingual, intercultural, and creative capabilities in educational settings. Through a holistic analysis, this study contributes to a nuanced understanding of the relationship between linguistic and cultural diversity and creativity. It also suggests practical implications for fostering linguistic and creative skills in a globalized context.

This research aims to explore the ways in which creative writing may be used as a pedagogical tool in the Latin language classroom, in particular how creative writing may benefit students in Latin prose composition. The lesson sequence delivered as part of this research was undertaken in an academically-selective, independent coeducational school in an affluent, inner-metropolitan area. The sequence of four 60-minute lessons formed part of the language (as opposed to literature) portion of timetabled Latin lessons for a group of nine Year 12 students (aged 16–17). As part of their language lessons, the students had been following a course of study in prose composition based upon Andrew Leigh's (2019) Latin Prose Composition: A Guide from GCSE to A Level and Beyond1. The lesson sequence was intended to build on this work by making use of, and thus consolidating, grammatical constructions and vocabulary which the students had already encountered in the context of prose composition. The sequence was designed in such a way that students were required to apply their linguistic knowledge in new and creative ways. Students' responses to the various activities were positive and they expressed enjoyment in the methodologies.

Generative adversarial networks (GANs) have recently been proposed as a potentially disruptive approach to generative design due to their remarkable ability to generate visually appealing and realistic samples. Yet, we show that the current generator-discriminator architecture inherently limits the ability of GANs as a design concept generation (DCG) tool. Specifically, we conduct a DCG study on a large-scale dataset based on a GAN architecture to advance the understanding of the performance of these generative models in generating novel and diverse samples. Our findings, derived from a series of comprehensive and objective assessments, reveal that while the traditional GAN architecture can generate realistic samples, the generated and style-mixed samples closely resemble the training dataset, exhibiting significantly low creativity. We propose a new generic architecture for DCG with GANs (DCG-GAN) that enables GAN-based generative processes to be guided by geometric conditions and criteria such as novelty, diversity and desirability. We validate the performance of the DCG-GAN model through a rigorous quantitative assessment procedure and an extensive qualitative assessment involving 89 participants. We conclude by providing several future research directions and insights for the engineering design community to realize the untapped potential of GANs for DCG.