After I had posted my blog, i had wrote about creativity and many more inspiration to write on blogs. And get many cheese on your site and blogs.
Psychologists began to study creativity in the 1950s, and right away, they had trouble defining it. In the 1950s and 1960s, psychologists searched for paper-andpencil tests that could measure a person’s creative potential. With a good test, they could simply have defined creativity as a high score on the test. However, this search was in vain; as we’ll see in chapter 3, in spite of several decades of research, personality psychologists were not able to develop a test to measure creativity, and the effort was abandoned by the 1970s.
Also during the 1950s and 1960s, psychologists tried to develop ways to measure the creativity of individual works. For example, one common technique was to ask three expert judges to rate the creativity of a work and then to average their ratings. But this always seemed to be a little too subjective; how do we know the experts are good at judging creativity? What if they are thought of as experts only because they’re attached to the old, dead, conventional ways of doing business? Then they would be exactly the wrong people to evaluate creativity. As a result of such worries, researchers have tried to develop more objective measures of the creativity of works. For example, Colin Martindale (1990) quantitatively measured the originality of poems with a computer program that counted the number of “unusual” words in the text, and measured the originality of paintings by asking college students to rate qualities like “representative of reality” and “otherworldly.”
Psychologists began to study creativity in the 1950s, and right away, they had trouble defining it. In the 1950s and 1960s, psychologists searched for paper-andpencil tests that could measure a person’s creative potential. With a good test, they could simply have defined creativity as a high score on the test. However, this search was in vain; as we’ll see in chapter 3, in spite of several decades of research, personality psychologists were not able to develop a test to measure creativity, and the effort was abandoned by the 1970s.
Also during the 1950s and 1960s, psychologists tried to develop ways to measure the creativity of individual works. For example, one common technique was to ask three expert judges to rate the creativity of a work and then to average their ratings. But this always seemed to be a little too subjective; how do we know the experts are good at judging creativity? What if they are thought of as experts only because they’re attached to the old, dead, conventional ways of doing business? Then they would be exactly the wrong people to evaluate creativity. As a result of such worries, researchers have tried to develop more objective measures of the creativity of works. For example, Colin Martindale (1990) quantitatively measured the originality of poems with a computer program that counted the number of “unusual” words in the text, and measured the originality of paintings by asking college students to rate qualities like “representative of reality” and “otherworldly.”
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