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Creativity Theory and Action in Education 4
Ronald A. Beghetto
Giovanni Emanuele Corazza Editors
Dynamic
Perspectives
on Creativity
New Directions for Theory, Research,
and Practice in Education
Creativity Theory and Action in Education
Volume 4
Series editors
Ronald A. Beghetto, Department of Educational Psychology, University
of Connecticut, Storrs, Connecticut, USA
Bharath Sriraman, Department of Mathematical Sciences, The University
of Montana, Missoula, Montana, USA
Editorial Board
Don Ambrose, Rider University, USA
David Cropley, University of South Australia, Australia
Vlad Petre Glaveanu, Aalborg University, Denmark
Beth Hennessey, Wellesley College, USA
Maciej Karwowski, Academy of Special Education, Poland
Scott Barry Kaufman, University of Pennsylvania, USA
Todd Lubart, University of Paris Descartes, France
Jean Pretz, Elizabethtown College, USA
Ai Girl Tan, Nanyang Technological University, Singapore
Yong Zhao, University of Oregon, USA
More information about this series at http://www.springer.com/series/13904
Ronald A. Beghetto • Giovanni Emanuele Corazza
Editors
Dynamic Perspectives
on Creativity
New Directions for Theory, Research,
and Practice in Education
Editors
Ronald A. Beghetto Giovanni Emanuele Corazza
Neag School of Education Marconi Institute for Creativity
University of Connecticut University of Bologna
Storrs, CT, USA Bologna, Italy
ISSN 2509-5781 ISSN 2509-579X (electronic)

Creativity Theory and Action in Education
ISBN 978-3-319-99162-7 ISBN 978-3-319-99163-4 (eBook)
https://doi.org/10.1007/978-3-319-99163-4
Library of Congress Control Number: 2018960918
© Springer Nature Switzerland AG 2019

This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of
the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation,
broadcasting, reproduction on microfilms or in any other physical way, and transmission or information
storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication
does not imply, even in the absence of a specific statement, that such names are exempt from the relevant
protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the
editors give a warranty, express or implied, with respect to the material contained herein or for any errors
or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims
in published maps and institutional affiliations.
This Springer imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
To Jeralynn for your persistent love and
support
–Ronald A. Beghetto
Giovanni Emanuele Corazza would like to
dedicate this book to his wife
Thank you for sharing your life with me,
together we embody our reality, our
adventure and our dreams
–Susy
Book Series Foreword
The goal of the book series, Creativity Theory and Action in Education, is to explore
new frontiers in creative theory, research, and practice in educational settings. The
series therefore endeavors to provide an international forum for thinkers from vari-
ous disciplinary and methodological perspectives to build on existing work in the
field and offer new, alternative, and even speculative directions for creative theory,
research, and practice in education.
In this way, the series is a creative experiment of sorts, one that is aimed at pro-
viding an opportunity for those engaged and interested in the broader project of
understanding creativity in education to generate, develop, test out, and learn from
new possibilities and multiple perspectives on all manner of creative phenomena in
education. Such an experiment has potential implications for how we think about
creativity in education and also for how we act on creative opportunities afforded by
educational situations and settings.
–Ronald A. Beghetto, Series Co-Editor, University of Connecticut, USA
Current Volumes in the Series
Volume 1:Creative Contradictions in Education: Cross Disciplinary Paradoxes and
Perspectives, edited by Ronald A. Beghetto and Bharath Sriraman (2017)
Volume 2: Creativity in Theatre: Creative Theory and Action in Theatre/Drama
Education (2018)
Volume 3: Creativity Under Duress in Education? Resistive Theories, Practices,
and Action, edited by Carol A. Mullen (2018)
Volume 4: Dynamic Perspectives on Creativity: New Directions for Theory,
Research, and Practice in Education, edited by Ronald A. Beghetto and Giovanni
Emanuele Corazza (2019)
vii
Acknowledgments
The authors would like to give very special thanks to Natalie Rieborn from Springer
for her enthusiasm and support throughout this process, the members of our advi-
sory board, colleagues at our universities, and family and friends.
ix
Contents
1 Introduction to the Volume .................................................................... 1

Ronald A. Beghetto and Giovanni Emanuele Corazza
Part I Dynamic Applications & Emergent Explorations

2 Unfreezing Creativity: A Dynamic Micro-longitudinal
Approach .................................................................................................. 7
Ronald A. Beghetto and Maciej Karwowski
3 Participatory Creativity: Supporting Dynamic Roles
and Perspectives in the Classroom ........................................................ 27
Edward P. Clapp and Michael Hanchett Hanson
4 Emotions: The Spinal Cord of the Creative Thinking Process .......... 47
Sergio Agnoli and Giovanni Emanuele Corazza
5 Estimator Socialization in Design Thinking: The Dynamic
Process of Learning How to Judge Creative Work .............................. 67
Julia P. A. von Thienen, Steven Ney, and Christoph Meinel
6 Exploration as a Dynamic Strategy of Research-Education
for Creativity in Schools ......................................................................... 101
Monica Guerra and Federica Valeria Villa
7 Educational Implications of the ‘Self-Made
Worldview’ Concept ............................................................................... 117
Alexandra Maland and Liane Gabora
8 Dynamic Creativity: Influential Theory, Public Discourse,
and Generative Possibility ...................................................................... 137
Carol A. Mullen
9 Content-Driven Pedagogy: On Passion, Absorption
and Immersion as Dynamic Drivers of Creativity ............................... 165
Lene Tanggaard
xi
xii Contents
Part II Dynamic Conceptions & Future Directions

10 Creativity as a Dynamic, Personal, Parsimonious Process ................. 181
Mark A. Runco
11 Polyphonic Orchestration: The Dialogical Nature of Creativity ........ 189
Ingunn Johanne Ness and Vlad Glăveanu
12 The Dynamic Definition of Creativity: Implications
for Creativity Assessment ....................................................................... 207
Lindsey Carruthers and Rory MacLean
13 Interdisciplinary Exploration and Domain-Specific
Expertise Are Mutually Enriching ........................................................ 225
Don Ambrose
14 Thought Dynamics: Which Role for Mind Wandering
in Creativity? ........................................................................................... 245
Manila Vannucci and Sergio Agnoli
15 From Dynamic Processes to a Dynamic Creative Process ................... 261
Marion Botella and Todd Lubart
16 Navigating the Ideology of Creativity in Education ............................ 279
Michael Hanchett Hanson
17 The Dynamic Universal Creativity Process .......................................... 297
Giovanni Emanuele Corazza
CODA................................................................................................................ 321
Chapter 1
Introduction to the Volume
Abstract Creativity is a dynamic phenomenon (Corazza, GE. Creativity Research

Journal, 28:258–267 (2016)). Indeed, change is central to creativity and results in
new thoughts, actions, and products (Beghetto 2016). Moreover, there is an explor-
atory nature to the creative process, which blends both inconclusiveness and
achievement. In this way, the trajectory of potentially creative outcomes dynami-
cally changes across time and is influenced by variations in the social, cultural,
historical, and material features of the situation.
Creativity is a dynamic phenomenon (Corazza 2016). Indeed, change is central to

creativity and results in new thoughts, actions, and products (Beghetto 2016).
Moreover, there is an exploratory nature to the creative process, which blends both
inconclusiveness and achievement. In this way, the trajectory of potentially creative
outcomes dynamically changes across time and is influenced by variations in the
social, cultural, historical, and material features of the situation.
In the context of a classroom, for example, a student’s unique perspective may ini-
tially be ignored (i.e., temporarily suspended) and then later returned to and built on (i.e.,
reanimated) by other students as a class discussion unfolds (see Gajda et al. 2017). The
inconclusive and dynamic nature of creativity also extends to judgments about the cre-
ativity of finished products (Corazza 2016), which can be revisited, revised, and changed.
Present actions and reflections can therefore influence creativity episodes from the past.
A teacher who judged a student’s alternative solution as incorrect may, upon
further reflection, recognize that the solution is indeed creative. In this way, assess-
ments applied to the outcomes of a creative process, require a dynamic approach
that can better account for the variations in judgments of creativity across possible
situations, contexts, and futures.
R. A. Beghetto (*)
Neag School of Education, University of Connecticut, Storrs, CT, USA
e-mail: ronald.beghetto@uconn.edu
G. E. Corazza
Marconi Institute for Creativity, University of Bologna, Bologna, BO, Italy
© Springer Nature Switzerland AG 2019 1

R. A. Beghetto, G. E. Corazza (eds.), Dynamic Perspectives on Creativity,
Creativity Theory and Action in Education 4,
https://doi.org/10.1007/978-3-319-99163-4_1
2 R. A. Beghetto and G. E. Corazza
This dynamic nature of creativity, however, is overshadowed by more static con-

ceptions, methodologies, and practices. Indeed, even standard definitions of creativ-
ity tend to use more fixed criteria, which have recently been critiqued as excluding
creative potential at all levels of accomplishment (see Corazza 2016; Smith and
Smith 2017). These critiques extend to more static or “one and done” estimates of
the creativity of ideas or products, which fail to account for variations and changes
in both the subjective and intersubjective assessments of creativity.
In short, traditional conceptions of creativity and methods for assessing and
identifying creativity in educational contexts tend to privilege static creative
achievement and fixed creative traits, rather than focus on the more dynamic, devel-
oping, and variable nature of creative thought and action.
These static conceptions can have dire consequences with respect to whether and
how students’ and teachers’ potentially creative thought and actions will be recog-
nized and developed in educational settings. Indeed, because creative potential is
not as tangible as creative products, potential may be overshadowed by externally
recognized creative outcomes (Runco 2004). The consequences of focusing on
products or immediate recognition of creative outcomes can have an especially dra-
matic impact on the students’ attitude towards the value of persisting in long term
creative endeavors, inducing a preference for early closure.
At present, there is a need for more dynamic conceptions of creativity in educa-
tional settings. This is particularly important given the fast evolution of modern
society and the widespread consensus that efforts to develop creative potential
should be democratized—extending well beyond the boundaries of select individu-
als and the confines of “gifted & talented” programs (Clapp 2017; Corazza 2016;
Hanchett Hanson 2015). There is also recognition that more dynamic perspectives
on creativity are necessary for understanding its complexity, value, and meaning in
educational contexts (Beghetto 2016; Corazza 2016).
The purpose of this edited volume is to bring together experts who presuppose
creativity to be a dynamic phenomenon and thereby introduce new conceptions,
methods, and applications in educational settings that are in alignment with that
presupposition.
Collectively, the voices and perspectives represented in this volume aim to pro-
voke new directions for thought and action in the field of creative studies. Some of
applications and perspectives introduced herein are speculative, whereas others are
grounded in many decades of research in the field. All however have the aim of
providing a more dynamic way of considering how to think about, study, and engage
with creative phenomena in and outside of educational setting.
This volume is organized in two parts. Part 1 focuses on dynamic applications
and emergent explorations. More specifically, the essays and chapters included in
this section provide an account of the kind of work already underway and emergent
efforts by researchers who approach creativity from a more dynamic perspective.
Part 2 offers new conceptions and theoretical directions for creativity researchers
interested in applying and extending a dynamic perspective to their future endeav-
ours. In this way, the volume offers an overview of the kind of work presently
underway and on the horizon as well as maps out new ways of conceptualizing
1 Introduction to the Volume 3
future efforts aimed at realizing the more dynamic nature of creative phenomena
within and beyond educational settings.
We hope you enjoy spending time with this volume and find your experience
engaging with the ideas contained within this volume both challenging and
rewarding.
References
Beghetto, R. A. (2016). Creative learning: A fresh look. Journal of Cognitive Education and
Psychology, 15, 6–23.
Clapp, E. P. (2017). Participatory creativity: Introducing access and equity to the creative class-
room. New York: Routledge.
Corazza, G. E. (2016). Potential originality and effectiveness: The dynamic definition of creativity.
Creativity Research Journal, 28, 258–267.
Gajda, A., Beghetto, R. A., & Karwowski, M. (2017). Exploring creative learning in the classroom:
A multi-method approach. Thinking Skills and Creativity, 24(250), 267.
Hanchett Hanson, M. (2015). Worldmaking: Psychology and the ideology of creativity. London:
Palgrave Macmillan.
Runco, M. A. (2004). Everyone has creative potential. In R. J. Sternberg, E. L. Grigorenko, &
J. L. Singer (Eds.), Creativity: From potential to realization (pp. 21–30). Washington, DC:
American Psychological Association.
Smith, J. K., & Smith, L. F. (2017). The 1.5 criterion model of creativity: Where less is more, more
or less. Journal of Creative Behavior, 51, 281–284.
Part I
Dynamic Applications & Emergent
Explorations
Chapter 2
Unfreezing Creativity: A Dynamic
Micro-longitudinal Approach
Ronald A. Beghetto and Maciej Karwowski
Abstract Creativity researchers have conceptualized and studied creativity in a

variety of ways. One common approach is to treat creative thought and action as if
they are static phenomena that can be assessed using fixed measures. In this chapter,
we argue for a more dynamic, micro-longitudinal approach to studying creativity in
classrooms. We open with a brief discussion of our operating assumptions about
creative thought and action, which serve as the basis for our argument. We then
discuss examples of how researchers might move from a more static to more
dynamic approach. More specifically, we discuss how researchers can study cre-
ative phenomena (such as creative confidence beliefs) using more dynamic, micro-
longitudinal designs. We also discuss various promising options for analyzing data
collected from such designs, including latent growth curve modeling, network-
based analysis, and qualitative interpretations of visual displays. We close with a
brief discussion of implications for future research and practice.
2.1 Introduction
Scholars have long been interested in nurturing creative thought and action in the
context of schools and classrooms. Indeed, some of the earliest conceptions of cre-
ativity have their origins in the works of educational philosophers, such as the
German philosopher Friedrich Froebel1 (1887/1906) who asserted, “The young,
1
Froebel’s ideas about creativity had an anxious (Pieter Fannes, personal communication) and
religious tinge to them, cloaked in the worry that unless young people worked on creative and
productive endeavors, they would quickly devolve into destructive impulses (see translators note
on p. 31 of Frobel’s The Education of Man).
R. A. Beghetto (*)
Neag School of Education, University of Connecticut, Storrs, CT, USA
e-mail: ronald.beghetto@uconn.edu
M. Karwowski
University of Wroclaw, Wroclaw, Poland
© Springer Nature Switzerland AG 2019 7

R. A. Beghetto, G. E. Corazza (eds.), Dynamic Perspectives on Creativity,
Creativity Theory and Action in Education 4,
https://doi.org/10.1007/978-3-319-99163-4_2
8 R. A. Beghetto and M. Karwowski
growing human being should…be trained early…for creative and productive activ-
ity” (p. 34). John Dewey (2007/1999), the American pragmatist, also recognized the
importance of nurturing the creative imagination of students,
We hear much nowadays about the cultivation of the child’s ‘imagination.’ Then we undo
much of our own talk and work by a belief that the imagination is some special part of the
child that finds its satisfaction in some one particular direction – generally speaking, that of
the unreal and make-believe, of the myth and the made-up story (p. 72)
It should therefore come as no surprise that understanding creativity in the context

of the classroom has served as an important line of research in the field of creativity
studies (Guilford 1950, 1967; Torrance 1966). Indeed, some of the earliest research
on creativity occurred in schools and classrooms. Much of this early work focused
on developing and using “creativity tests2” to measure aspects of children’s creative
and imaginative thought (e.g., Torrance Tests of Creative Thinking, TTCT, Torrance
1966).
In the years that followed, research on creativity in schools and classrooms con-
tinued to serve as a robust and burgeoning line of research in the field of creativity
studies. In addition to the TTCT (Torrance 1966), creativity researchers have devel-
oped and used a wide array of methods and measures (Reiter-Palmon et al. 2014),
including checklists of creative behavior (Inventory of Creative Activities and
Achievements, Jauk et al. 2014); self-belief measures (e.g., Short Scale of Creative
Self, Karwowski et al. 2013); teacher perceptions of creativity (e.g., Aljughaiman and
Mowrer-Reynolds 2005); observational check-lists of creative teaching (e.g.,
Schacter et al. 2006); teacher ratings of students (e.g., Scales for Rating the Behavioral
Characteristics of Superior Students, Renzulli et al. 1976); product rating scales
(e.g., Creative Product Semantic Scale, O’Quin and Besemer 1989); and expert rat-
ings of creative products (e.g., Consensual Assessment Technique, Amabile 1996).
Although there are variations in how researchers have conceptualized and stud-
ied creativity, a common approach is to treat creative thought and action as if they
are static phenomena, which can be assessed with fixed measures (Beghetto, in
press). This is not to say that such work lacks value, but we maintain that it can only
provide limited insights into the dynamic and multifaceted nature of creative phe-
nomena (Gajda et al. 2017).
In what follows, we argue for a more dynamic, micro-longitudinal approach to
studying creativity in classrooms. We open with a brief discussion of our operating
assumptions about creative thought and action. We then focus on examples of how
researchers might move from a static to more dynamic approach to studying creative
phenomena. More specifically, we discuss how researchers can study creative self-
beliefs using more dynamic, micro-longitudinal designs. We also discuss various
2
Torrance’s Test of Creative Thinking (TTCT) is actually a measure of divergent thinking, which
is viewed as an essential, but not sufficient component of creative thinking or outcomes. In fact,
creativity scholars tend to view divergent thinking as an indicator of creative potential (rather than
a measure of creativity itself – see Karwowski and Beghetto 2018 for a discussion). The TTCT
remains as one of the most popular measure used in the field of creativity studies in general and in
schools and classrooms in particular (Plucker and Makel 2010; Reiter-Palmon et al. 2014)
2 Unfreezing Creativity: A Dynamic Micro-longitudinal Approach 9
promising options for analyzing data collected from such designs, including latent
growth curve modeling and network-based analysis. We close with a brief discussion
of implications for future research and practice.
2.2 Basic Assumptions
Prior to describing examples of a more dynamic approach to studying creativity, it

is first important to clarify a few basic assumptions about the nature of creativity in
classrooms. These assumptions (which have been discussed elsewhere, e.g.,
Beghetto, in press) include:
• Uncertainty serves as a creative catalyst;
• Creative thought and action results from a dynamic and emergent processes;
• Determinations about creativity are based on generally agreed upon criteria;
and
• Judgements about creativity are dynamic and subject to change across time and
contexts.
In the sections that follow, we briefly discuss each of these assumptions.
2.2.1 Uncertainty as a Catalyst
Although there are many reasons why a person may choose to engage in creative
thought and action, creative endeavors always involve some level of uncertainty.
Indeed, if you know the outcome of an action in advance, then the result can hardly
be called creative.
Consider the musical arts. A musician who is writing a composition starts at the
point of uncertainty. The musician does not know exactly how the composition will
take shape until it is finished. Once the composition is finished opportunities for
creative expression are limited, but not entirely eliminated (see also Corazza 2016).
Although it is true that little uncertainty remains in how to perform the composed
piece, people can still have new and different “creative experiences” when hearing
it performed. Moreover, performers of the composition can introduce additional
uncertainty by experimenting with unique interpretations and novel flourishes when
playing the piece.
In this way, uncertainty serves as a catalyst for creativity. In the context of the
classroom, uncertainty can be encountered or induced (Beghetto in press). In the
case of encountering uncertainty, a student may share an unexpected perspective or
idea during an otherwise routine class discussion. Such ruptures in otherwise
planned lessons, can serve as potentially creative openings (Beghetto 2016a). The
potential of such openings can only be realized by engaging with (rather than
dismissing) the uncertainty encountered in that surprising moment. Indeed,

henever some experience breaks upon our habit of expectation (Peirce 1958), it
w
is a sign that new thought and action are required (Beghetto in press).
If, for instance, a student shares an unexpected idea, the student’s teacher does
not know in advance what the outcome will be if class time is used to explore
that idea. It is possible that pursuing such an idea will cause confusion for other
students and expend class time. It is also possible, however, that exploring the idea
will result in a new and meaningful (i.e., creative) contribution to the discussion (see
Gajda et al. 2017). The only way to know is to engage with the uncertainty of the
rupture.
In addition to these unexpected encounters with uncertainty, teachers can also
induce uncertainty. Induced uncertainty refers to teachers intentional and systematic
efforts to present students with structured experiences with uncertainty in an other-
wise supportive lesson. One way of doing so involves what has been called “lesson
unplanning” (Beghetto 2018), which refers to blending to-be-determined openings
with pre-determined features of learning activities, assignments and tasks. Students
are then required to resolve the uncertainty of the to-be-determined aspect by
responding in a new and meaningful (i.e., creative) way.
In sum, regardless of whether uncertainty is encountered or induced, it serves as
a catalyst for creative thought and action because resolving uncertainty requires
thinking and acting in new and meaningful ways. Although it is true that a student’s
new and meaningful insight might only be considered creative at the subjective
level, it is also possible that working with those insights can result in creative con-
tributions to others (Beghetto 2016b). In order for this to happen, educators need to
provide opportunities for students (and themselves) to explore the creative potential
that uncertainty offers. If the outcomes, procedure for arriving at those outcomes,
and problems to be solved are all predetermined, then there is little room for creative
expression in the classroom.
2.2.2 Emergent Processes and Products
Given that some level of uncertainty is involved in creative thought and action, it is
difficult to predict what will emerge from students and teachers attempts to resolve
uncertainty in the classroom. The creative resolution of uncertainty is therefore
dynamic and emergent because both the process and the outcomes of creative
thought and action change and take shape overtime (Corazza 2016; Beghetto
2016a).
With respect to the process, there are heuristics that people have used to cre-
atively resolve uncertainty. Techniques that involve combining diverse stimuli in an
effort to generate creative ideas, insights, and outcomes is a common example. Such
heuristics have their basis in work that has explored the combinatorial aspects of the
creative process (Finke et al. 1992; Rothenberg 2014). Indeed, creativity researchers
have demonstrated that some of the most creative outcomes come from combining
highly divergent and even opposing stimuli.
Although creativity researchers have been able to point to several examples of

how combinatorial thinking results in creative outcomes, there is no guarantee that
using such techniques will lead to creative results. Indeed, combinatorial thinking is
a strategy, not an algorithm. Moreover, even in cases where techniques, such as
conceptual combination, lead to creative outcomes those outcomes tend not to be
known in advance.
One reason that there are no surefire techniques for generating creative thought
and action is because creativity has an emergent quality to it. Emergent properties
represent new features that are not known to be present in the initial stimuli (Sawyer
2012). It is for this reason that creativity researchers sometimes refer to the pro-
cesses that lead to creative outcomes as being blind (Simonton 2017). Indeed, if we
know the way to a solution in advance, then we don’t need to think or act cre-
atively. Rather, we could simply apply a pre-determined set of steps (Getzels
1964).
Consequently, creativity always involves some element of surprise (Simonton
2017). Creative outcomes start to take shape as we take action on them. The creative
process “comes to a rest” once an idea or outcome has reasonably resolved the
uncertainty being confronted (Peirce 1958). The process can be reanimated at later
time points and by different participants (Beghetto 2016a; Corazza 2016; Gajda
et al. 2017). A student’s unique idea which has been discussed and accepted as rel-
evant, can later be referred to by the teacher in a class discussion with a new group
of students who then build on it and transform it into a different insight.
In this way, creative thought and action has a to-be-determined quality to it
(Beghetto in press), which even when reasonably resolved, maintains a state of
inconclusiveness (Corazza 2016). As students (or teachers) work through the uncer-
tainty of a situation or task, they can resolve that uncertainty by producing new
ideas, perspectives, or outcomes that reasonably meet the task constraints. The pro-
cess is both dynamic and emergent.
If, for example, students are using conceptual combination as strategy to think
differently about a problem, then they would not necessarily know in advance the
specific combinatorial features that ultimately lead to creative resolution of a prob-
lem. Rather students need to develop and test out various alternatives until a reason-
able solution takes shape. Students and teachers would also benefit from realizing
that even “finished” work can be reanimated, remixed, and transformed into new
works (Navas 2012).
2.2.3 Generally Agreed Upon Criteria
Although creativity has proven to be somewhat of an elusive concept in education

(Plucker et al. 2004), creativity researchers generally agree (e.g., Kaufman 2016;
Runco and Jaeger 2012; Stein 1953) that definitions of creativity tend to require two
criteria3: originality (i.e., newness, uniqueness, or novelty) and usefulness (i.e.,

meaningful, meeting task constraints, or effective). Moreover, these criteria are
defined within a particular socio-cultural and historical context.
The criteria of this definition implies a somewhat static characteristic to it and
thereby might be thought of as applying to creative achievement, rather than the
more dynamic aspects of the creative process (Giovanni Emanuele Corazza per-
sonal communication, April 26th, 2018). As we will discuss, however, judgments of
creativity (even those that rely on these criteria) maintain a dynamic characteristic
to them given that they vary by context and can be revisited at a later time and by a
new audience.
In this way, creativity in the classroom can be thought of as a dynamic combina-
tion of original expression and meeting task constraints. Along these lines, a stu-
dent’s new and personally meaningful insights when learning something new can be
considered creative in the context of that student’s subjective experience (Beghetto
and Kaufman 2007). In order for others to recognize a student’s idea as creative, the
student would need to demonstrate not only the originality of the idea, but also
demonstrate how it fits the particular or situational tasks constraints (Beghetto
2016b). In many cases, the social recognition of creative outcomes is of most impor-
tance to creativity researchers because it is this level of creative expression that
moves beyond a person’s subjective experience and makes a contribution to the
learning and insights of others (i.e., peers and teachers) in the classroom context.
2.2.4 Dynamic Judgments of Creativity
Much like the dynamic process that results in creative outcomes, so too are judg-
ments about creative expression in classrooms. Although it is possible for teachers
and peers to immediately recognize a student’s unique perspective as creative, on
other occasions student’s unexpected ideas or actions may need to be explored or
revisited in order to recognize that connection (Beghetto 2016b).
In the context of a classroom discussion, for instance, a student’s unexpected
utterance may be initially dismissed and then, only after the student’s teacher or
peers revisit the idea do they recognize its creative relevance (Gajda et al. 2017). In
some cases, this recognition may be delayed over much longer time spans or only
by virtue of analysis by outside observers (e.g., researchers analyzing transcripts,
video footage or other artifacts from a classroom activity). Indeed, teachers and
students may be so focused on attaining expected outcomes and fearing going off-
topic that they do not recognize or value potentially fruitful deviations (Gralewski
and Karwowski 2013; Kennedy 2005). In yet other cases, what was initially viewed
as a creative response, may after consideration be recognized as lacking originality
3
Several scholars have offered variations and elaborations on the two criteria definition of creativ-
ity (for recent examples see Corazza 2016; Simonton 2016; Smith and Smith 2017).
or failing to meet the task constraints in the context of the particular assignment or
activity (Beghetto 2016a).
Taken together, these four assumptions highlight the dynamic nature of creative
thought and action in classrooms. Specifically, uncertainty (which can be encoun-
tered or induced) serves as a catalyst for thinking and acting in creative ways. The
process of creatively resolving uncertainty is dynamic and emergent, which means
creative outcomes are difficult to predict at the outset and start to take shape over-
time. This includes the opening of many new possibilities and trajectories along the
way.
Given the dynamic nature of judgments about creativity, researchers and educa-
tors might benefit from moving away from terminology that implies a more final or
fixed state (i.e., judgement, assessment) and toward more dynamic language.
Following Corazza (2016), we would suggest that terms like “estimation” might be
more appropriate and useful when describing creative phenomena. More dynamic
labels highlight the indefinite features of creative judgements and signal the poten-
tial for differing perspectives and future possibilities.
In sum, resolving uncertainty when facing one situation can open multiple new
areas of uncertainty. In other situations, the uncertainty faced by a student or teacher
may not be resolved or only be temporarily resolved. The social judgments of
whether a student or teacher resolves uncertainty in a creative way is based on the
generally agreed upon criteria of blending originality and meeting task constraints
as defined in a particular situation, activity, or task. Finally, estimations of what is
or is not creative are also dynamic and can change over time and across contexts.
2.3 Implications for Research
Given these assumptions, how might researchers design studies that take into
account the dynamic and emergent nature of creative expression in classrooms? In
the sections that follow, we address this question by arguing for the use of a micro-
longitudinal approach (Beghetto and Karwowski 2017; Karwowski and Beghetto
2018). More specifically, we briefly define what we mean by a micro-longitudinal
approach and then discuss how such an approach can be used to study creative phe-
nomena both at the individual and socio-interactional level.
2.3.1 Micro-Longitudinal Approach to Studying Creativity

A
in Classrooms
A micro-longitudinal approach is a dynamic approach. It requires taking multiple

measurements of the phenomena of interest over a small period of time. Unlike typi-
cal longitudinal designs that involve making repeated measures at moderate to long
intervals, micro-longitudinal designs take measurements at more rapid intervals

(e.g., milliseconds, seconds, minutes). In this way, more dynamic and otherwise
ephemeral phenomena can be recorded, analyzed, and interpreted (Beghetto 2016a;
Gajda et al. 2017; Karwowski Beghetto 2018). Such approaches can be used with
qualitative and quantitative data.
Qualitative Interpretations of Dynamic Visual Displays In the context of the
classroom, researchers using micro-longitudinal approaches can develop dynamic
visual displays of interactions to represent and analyze different patterns of interac-
tions amongst students and teachers (Tanggaard and Beghetto 2015). Doing so can
help explain classroom level variations in creative expression. Figure 2.1 provides
an example of a micro-longitudinal display of a segment of class discussion (repro-
duced with permission from Gajda et al. 2017).
Figure 2.1 is based on a segment of classroom talk which involved 23 utterances
(or turns), one teacher and seven students. Although it is beyond the scope of this
chapter to provide a full detailed discussion and analysis of this visual display (see
Gajda et al. 2017 for details), we want to briefly highlight a few key points germane
to our discussion.
Using visual displays like the one depicted in Fig. 2.1 can provide a way for
researchers to illustrate and interpret the dynamic patterns of interaction that
occur in classrooms, including how ideas sometimes are dismissed (D), sus-
pended (S), accepted (A), and returned to at later points (- - -). Such displays
highlight the dynamic trajectories and potential of ideas that otherwise might be
missed when relying solely on transcripts. Visual displays can support various
analytic and interpretive possibilities, including comparing patterns of interaction
between different types of classrooms and subject areas (see Beghetto 2016a;
Fig. 2.1 Example of micro-longitudinal visual display. Note: U = each utterance. U# = temporal
order of each utterance. T = teacher utterances. S = student utterances, S# = number of a particular
student in order of the appearance. A = idea accepted or acknowledged by the teacher, D = dis-
missed by the teacher, S = idea not acknowledged, but suspended. Dotted lines (- - -) represent the
teacher or students reanimating and building on a previous ideas
Gajda et al. 2017; Tanggaard and Beghetto 2015 for additional examples and
more detailed discussion).
Dynamic Quantitative Approaches In addition to qualitative interpretations of
classroom interactions, micro-longitudinal studies can complement and extend tra-
ditional approaches that rely on static snapshots to measure creative phenomena
(e.g., single measure surveys, pre-post measures) and also compliment delayed
interval approaches increasingly used by creativity researchers (e.g., experience
sampling, diary-based methods; ecological momentary sampling).
Micro-longitudinal studies lend themselves to the kinds of analyses that allow
researchers to examine the more nuanced and variable patterns of within and
between subject variation in creative processes and outcomes of interest. Indeed,
potentially important variations and patterns that are typically viewed as statistical
noise or eliminated through statistical aggregate, can be analyzed and thereby offer
new insights into the nature of creative phenomena.
One particularly promising application of such an approach is the examination of
how different patterns of students’ self-beliefs and emotions might explain differ-
ences in students’ willingness to share creative ideas and make creative contribu-
tions in the classroom. Taking a micro-longitudinal approach to studying creative
self-beliefs can help researchers to move from more traditional, static approaches
and toward more sensitive and dynamic approaches.
In the sections that follow, we provide further discussion and examples of how
micro-longitudinal approaches can be applied to estimating and analyzing creative-
self beliefs. We close with a brief discussion of implications for future research and
practice.
2.3.2 Creative Self–Beliefs: A Quick Overview
Creative self-beliefs refer to a “constellation of beliefs that shape one’s creative self
and play a unique role in helping to determine a person’s engagement and perfor-
mance on creative endeavors” (Karwowski and Beghetto 2018). The constellation of
self-beliefs that make up one’s creative identity can be organized into three broad
categories: Creative confidence (i.e., beliefs in one’ ability to think or act creatively),
creative self-awareness (i.e., beliefs about the nature of one’s creative abilities,
including one’s creative strengths and limitations), and creative self-image (i.e.,
beliefs about whether and how creative activities, aspirations, and abilities are part of
one’s sense of self) (Beghetto and Karwowski 2017; Karwowski and Beghetto 2018).
These beliefs vary across several dimensions (Beghetto and Karwowski 2017),
including: temporal (i.e., past, present, and future orientation), stability (i.e.,
dynamic vs. static), and task (i.e., specific vs. general). For the purpose of this chap-
ter we focus on creative confidence beliefs and discuss how taking a more dynamic,
micro-longitudinal approach is necessary to measure and better understand the role
these beliefs plays in creative behavior.
2.3.3 easuring Creative Confidence: A Micro-Longitudinal

M
Approach
One way to measure creative confidence beliefs more dynamically, is to incorporate

them into a micro-longitudinal approach. As discussed, a micro-longitudinal
approach involves taking multiple measures at brief intervals in an effort to more
fully capture the variable nature of phenomena of interest. When it comes to cre-
ative confidence beliefs, researchers can apply this approach by first identifying a
performance situation or task and then take measurements of creative confidence
before, during, and after performing that task (Beghetto and Karwowski 2017;
Karwowski et al. accepted).
Figure 2.2 illustrates a hypothetical example of how researchers can model com-
ponents of a dynamic, micro-longitudinal assessment of creative confidence beliefs.
The components are based on an activity that the first author (Beghetto) had initially
designed for pedagogical purposes (i.e., help workshop participants become aware
of the dynamic nature of their own creative confidence beliefs in conjunction with
other factors, like emotions). Although the activity was designed for instructional
purposes, researchers can easily adapt it for data collection and analysis.
As illustrated in Fig. 2.2, there are several components that can go into designing
a micro-longitudinal study of creative confidence beliefs. These components can be
organized across three measurement windows: Window 1 (i.e., prior to presenting
the task to participants), Window 2 (i.e., immediately before and during task engage-
ment), and Window 3 (i.e., following task completion).
Measurement Window 1 refers to the time period prior to introducing the specific
performance task to participants. The goal of measurement Window 1 is to tap into
the more general creative confidence beliefs (e.g., creative self-concept) related to
the performance domain (e.g., problem solving) and any other variables of interest
that might explain variations in confidence during task performance (e.g., back-
ground variables, emotional state, physiological arousal, situational variables) or be
used as a point of comparison (e.g., general confidence completing tasks).
Depending on the goals of the study, general creative confidence can be esti-
mated using a creative self-concept scale (Beghetto and Karwowski 2017) that taps
into cognitive and affective perceptions of creative competence (e.g., I’m good at
solving problems creatively; I enjoy coming up with creative solutions). Researchers
can ask respondents to indicate their general confidence on a 100-point scale
(0 = not at all confident, 100 = extremely confident). Importantly, general creative
confidence is assessed prior to providing participants with a specific task.
Measurement Window 2 refers to the time period when participants are presented
with a specific task (including instructions and criteria for success) and during
actual task performance. During this time, researchers can assess the more dynamic
nature of creative confidence for the specific task (e.g., confidence in producing a
creative solution to this task, assessed on a 100-point scale) as well as any other
variables of interest that might change across the duration of task engagement (e.g.,
emotional state, physiological arousal, confidence in completing the task).
Fig. 2.2 Micro-longitudinal design of creative confidence beliefs
Measurement of variables should commence once participants have been pre-

sented with the task and have a clear understanding of what they are being asked to
do. Measurements will continue at regular and rapid intervals (e.g., every minute)
across the duration of the task. As illustrated in Fig. 2.1, within measurement
Window 2, researchers can assess both continuous (e.g., creative confidence mea-
sured on a 100-point scale), discrete variables (e.g., reported emotional state), or
some combination thereof (e.g., reported emotion and intensity of that emotion).
The task presented to participants should have a clear time limit (e.g., 10 min),
specific criteria for successful completion (e.g., “design a visual representation of
creative teaching using a total of six pattern blocks and write a 30-word description
of your design”), and provide an opportunity for participants to solve the task in
their own way and produce their own unique outcome. Put simply, the task should
provide enough structure so participants can draw on their efficacy beliefs to predict
and monitor their progress (Bandura 2012), but also have to-be-determined ele-
ments to afford opportunities for creative expression (Beghetto in press).
Finally, measurement Window 3 refers to measurements taken after the partici-
pants have completed the task or time has expired (whatever comes first).
Measurement Window 3 provides researchers with an opportunity to re-assess the
more general beliefs initially assessed during measurement window 1 and allow
researchers to test a variety of theoretical assertions (e.g., the role that specific ver-
sus general confidence beliefs have on creative task performance).
Ideally, measurement Window 3 would include measurements taken immedi-
ately after task performance and at some later delayed interval (e.g., days, weeks,
months later). In this way, micro-longitudinal work can complement more tradi-
tional longitudinal studies providing researchers with an opportunity to examine the

stability of key variables and how performance on specific tasks might influence
those variables.
2.3.4 Analyzing Micro-Longitudinal Creative Confidence Data
For decades, creativity researchers relied heavily on correlation-based or compara-

tive (e.g., ANOVA-based) analytic methods to describe the relationships between
creativity and its antecedents and consequences. Although these classic methods are
still in use, a dynamic perspective requires more dynamic approaches to data
analysis.
This dynamism is two-fold. First, it calls for interactive, intensive, longitudinal
methods of data collection, as described above. Second, it requires fresh analytical
techniques to properly model between and within-person variability in creative pro-
cess, self-assessment or self-regulation. From a theoretical standpoint, the dynamic
perspective is less focused on differences between people (i.e. the question of who
feels more and who feels less confident) and more on intra-individual differences.
Consequently, the focus is on collecting and analyzing data that addresses ques-
tions of: When, where and under what circumstances the same people experience
variations in their beliefs? Multilevel modelling and network modelling are two of
the many possibilities to analyze such data.
Multilevel Models Multilevel models (or hierarchical linear models, see Snijders
and Bosker 1999) extend typical analyses of regression by taking into account the
nested structure of the data at hand. This “nesting” (a procedure that leads to biased
statistical estimates) is often observed in research yet ignored. One obvious exam-
ple of nesting are students clustered in classes or employees clustered in firms.
Another type of clustering, more relevant for our discussion in this chapter, is nest-
ing several responses or self-ratings within person.
When a participant provides several self-evaluations during a problem-solving
session (see Fig. 2.1), researchers are not only interested in an average level of a
person’s creative confidence overall, but also in the variability of these intrapersonal
changes. The level of within- and between occasion variability may be effectively
quantified using the intraclass correlation coefficient (ICC, Bartko 1976).
Conceptually, ICC denotes the percentage of the variance that lies between
level-2 units – i.e. a person in our example. Consequently, 1-ICC denotes the per-
centages of variance that lie within person or between occasions for a specific per-
son. Previous studies in creativity literature that utilized dynamic measurement (e.g.
experience sampling method or diary studies (see Conner and Silvia 2015; da Costa
et al. 2018; Karwowski et al. 2017) have demonstrated that the level of within
person variability of creativity related emotions or beliefs tends to be large. This
variability is in alignment with what our dynamic perspective assumes.
In other words, scholars using multi-level models have been able to describe how
much people differ interpersonally (ICC) and how they differ from occasion to
occasion (i.e., intrapersonally: 1-ICC). Importantly, the variance estimated at both
levels can be effectively explained by subsequent multilevel models. Thus, research-
ers can use relatively stable characteristics of participants (i.e., their personality,
previous creative achievements, or a creative self-concept) as between person pre-
dictors, but they can also include more dynamic, state-like variables collected dur-
ing the process (e.g., creative confidence, affect or emotional arousal), as within
person predictors.
A wide array of advanced, analytic and automated (AAA, see D’Mello et al.
2017) devices that allow for collecting data in real-time are available and may prove
useful for creativity researchers. Examples include, measures of facial expression,
attention shifts using eye-tracking methods, and emotional arousal based on gal-
vanic skin response. With recent developments in technology, these kinds of data
can be collected in a relatively non-intrusive way – without any effort from the
participant, thus minimizing the risk of influencing and disturbing the processes the
researcher is interested in.
It is important to note that the micro-longitudinal character of datasets makes it
possible to explore important “chicken-and-egg” problems (i.e., the questions about
possible cause-and-effect relationships and reciprocal links between psychological
and social phenomena). Example questions include: Do positive emotions cause
stronger creative self-beliefs during solving a problem or does growing creative
confidence lead to emotional flourishing? Using micro-longitudinal datasets and
applying multilevel models enables researchers to ask and address these more
causal and dynamic questions (Conner et al. 2018).
Latent Growth Curve Modeling Latent growth curve modelling (LGC, see:
Preacher 2008) is a special case of multilevel models that seems promising for
dynamic creativity research. This method, originally developed for longitudinal
studies within developmental psychology, bridges two analytical traditions: multi-
level modelling and structural equation modelling (SEM). As we have discussed,
multilevel modelling allows for a more appropriate estimation of parameters of
interests by accounting for the nested structure of data and explaining within person
variability.
Conceptually, LGC is based on multilevel modelling, but it also utilizes the SEM
approach, whereby main variables of interest are modelled as latent variables. This
allows for a proper control of measurement error and the model fit indices are avail-
able. In LGC models, two specific latent variables are modelled. The first is inter-
cept – namely, the base level of creative confidence or any other variable of interest
that is subject to change during the process. The second is slope, the average change
between people (average slope) as well as the pattern of intra-individual changes
(i.e., significance of the variance in slope).
Researchers using LGC can address questions such as: Does creative confidence
increase or decrease while handling a creative task? Perhaps it follows a curvilinear
trend from a relatively low level before the task, through high level during the task,
all the way to a significant decrease after the task (U-curved shape)? Alternatively,
maybe a high level of creative confidence from pretest decreases during the task and
then increases (reversed U pattern)? Thus, LGC allows the researchers to estimate
the overall pattern (shape) and level (the percentage of variance) of intra-individual
changes and including intrapersonal and interpersonal factors that might explain
this variability.
Both intercept and slope can be regressed on potentially relevant psychological,
social or demographic predictors. Moreover, parallel LGC models (Preacher 2008)
can be used to explore the extent to which the level and pattern of intraindividual
change (hence: the slope) of a single variable, such as creative confidence, is linked
to the level and pattern of change of another variable (arousal, affect, effectiveness
of problem solving, etc.).
Network-Based Analysis Network psychometrics represent another set of promis-
ing analytical techniques that tend to be underutilized by creativity researchers
(Constantini et al. 2017; Epskamp et al. 2017). Researchers can use network tech-
niques to examine complex relationships between creative processual variables.
Originally, statistical techniques based on network analyses were developed to
explore the relationships between individuals in groups (e.g., describing their popu-
larity, strength of social ties, exclusion from the wider social groups; see Wasserman
and Faust 1994 or to study within- and between-networks diffusion of different
phenomena, like obesity (Christakis and Fowler 2007).
It is important to note, that it is only recently that researchers have used network
analyses to examine creativity-relevant phenomena rather than its more traditional
and limited uses (Moreno 1960). In the creativity literature, researchers have used
network-based analyses to explain the social positions of students with higher or
lower creative accomplishments (see McKay et al. 2017; Kéri 2011). Network-
based models can be useful for modelling and illustrating the dynamics of various
psychological phenomena –from psychopathology, to play, and creativity.
Although researchers have tended to use network models to examine cross-
sectional data (e.g., Christensen et al. 2018), there are recent developments to apply
network models to simultaneously model both between- and within-person net-
works (see Constantini et al. 2017). As Constantini and colleagues (in press) have
demonstrated, it is possible to model the dynamics of the relationship between dif-
ferent characteristics both between-subject and within-subject. While between-
subject networks illustrate the dynamics that involve more stable, trait-like
characteristics (i.e., personality), within-subject networks illustrate links between
momentary levels of individuals characteristics – for example their moment-to-
moment or problem-to-problem creative confidence and affect.
In short, an estimated network of the relationships between different characteris-
tics of variables, provides an overview of the structure of links and interactions
between these characteristics. Creativity researchers can use this technique to
examine complex and dynamic interaction among emotions, confidence and subse-
quent micro-actions. Consider the hypothetical example of two simulated networks
presented in Fig. 2.3.
Fig. 2.3 Hypothetical example of between- and within-person network analysis. Simulated rela-
tionships between momentary creative self-efficacy while solving DT task and a number of related
states. CPI = Creative personal identity. CSC = Creative self-concept
The left panel of this hypothetical example illustrates between-subject networks,

while the right panel shows within-subject networks. Imagine that participants were
asked to provide their creative confidence ratings in relation to two divergent think-
ing (DT) tasks – ability to come up with creative uses for a brick and a can. Imagine
also that ratings were provided twice in relation to each DT problem – immediately
after presentation of a problem (pre-test) and after solving it (post-test) – generated
ideas were scored by external judges and a number of relevant characteristics of
participants were also collected e.g., creative mindset (see Karwowski 2014), posi-
tive affect related to the task, creative self-concept (CSC), and creative personal
identity (CPI).
These variables could then be analyzed using network-based analysis and poten-
tial similarities and differences of between-person and within-person networks
could be identified. As illustrated in the hypothetical example presented in Fig. 2.3,
one may conclude that at both between-person and within-person level, creative
self-beliefs measures (creative self-concept, node 7 in the diagram) and creative
personal identity, node 8 in the diagram) form a common cluster. In addition to
helping identify similarities, these types of visual network can also highlight differ-
ences (e.g., general self-beliefs are relatively independent from the more dynamic,
task related estimate of creative confidence, nodes 2–5). Moreover, the within-
person panel of this hypothetical example demonstrates much denser relationships
between these momentary assessments, growth mindset (node 10), and judges’ rat-
ings (nodes 6, 11). Thus, as this example illustrates, using network-based tech-
niques may prove helpful in exploring whether and how changes occur in different
types of beliefs and experiences while solving a problem (e.g., the intra-individual
dynamics of creative confidence may be quite different from the aggregated, more
stable between-person pattern of relationships).
At this point, we are not aware of any application of network models to study the
dynamic of creative action, but as the above hypothetical example illustrates: The
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Textbook Dynamic Perspectives On Creativity New Directions For Theory Research and Practice in Education Ronald A Beghetto Ebook All Chapter PDF

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Dynamic Perspectives on Creativity

New Directions for Theory Research

New directions in identity theory and research 1st

Democratic Socialism and Education New Perspectives on

Equality in Theory and Practice A Moral Argument for

International Perspectives on the Theory and Practice

International Research, Policy and Practice in Teacher

Practice Theory Perspectives on Pedagogy and Education

Everyday Creativity and the Healthy Mind Dynamic New

Everyday Creativity and the Healthy Mind: Dynamic New

ISSN 2509-5781 ISSN 2509-579X (electronic)

Library of Congress Control Number: 2018960918

© Springer Nature Switzerland AG 2019

1 Introduction to the Volume .................................................................... 1

Part I Dynamic Applications & Emergent Explorations

Part II Dynamic Conceptions & Future Directions

Ronald A. Beghetto and Giovanni Emanuele Corazza

Abstract Creativity is a dynamic phenomenon (Corazza, GE. Creativity Research

Creativity is a dynamic phenomenon (Corazza 2016). Indeed, change is central to

© Springer Nature Switzerland AG 2019 1

This dynamic nature of creativity, however, is overshadowed by more static con-

Ronald A. Beghetto and Maciej Karwowski

Abstract Creativity researchers have conceptualized and studied creativity in a

© Springer Nature Switzerland AG 2019 7

It should therefore come as no surprise that understanding creativity in the context

2.2 Basic Assumptions

Prior to describing examples of a more dynamic approach to studying creativity, it

2.2.1 Uncertainty as a Catalyst

2.2.2 Emergent Processes and Products

Although creativity researchers have been able to point to several examples of

2.2.3 Generally Agreed Upon Criteria

Although creativity has proven to be somewhat of an elusive concept in education

criteria3: originality (i.e., newness, uniqueness, or novelty) and usefulness (i.e.,

2.2.4 Dynamic Judgments of Creativity

2.3 Implications for Research

2.3.1  Micro-Longitudinal Approach to Studying Creativity

A micro-longitudinal approach is a dynamic approach. It requires taking multiple

intervals, micro-longitudinal designs take measurements at more rapid intervals

2.3.2 Creative Self–Beliefs: A Quick Overview

2.3.3  easuring Creative Confidence: A Micro-Longitudinal

One way to measure creative confidence beliefs more dynamically, is to incorporate

Fig. 2.2 Micro-longitudinal design of creative confidence beliefs

Measurement of variables should commence once participants have been pre-

tional longitudinal studies providing researchers with an opportunity to examine the

2.3.4 Analyzing Micro-Longitudinal Creative Confidence Data

For decades, creativity researchers relied heavily on correlation-based or compara-

The left panel of this hypothetical example illustrates between-subject networks,

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1 Introduction to the Volume .................................................................... 1

Part I Dynamic Applications & Emergent Explorations

Part II Dynamic Conceptions & Future Directions

2.2 Basic Assumptions

2.2.1 Uncertainty as a Catalyst

2.2.2 Emergent Processes and Products

2.2.3 Generally Agreed Upon Criteria

2.2.4 Dynamic Judgments of Creativity

2.3 Implications for Research

2.3.1 Micro-Longitudinal Approach to Studying Creativity

2.3.2 Creative Self–Beliefs: A Quick Overview

2.3.3 easuring Creative Confidence: A Micro-Longitudinal

2.3.4 Analyzing Micro-Longitudinal Creative Confidence Data