A factor analytic study of impulsivity and creative abilities

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Authors Pacuilla, Nicholas, 1940-

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A FACTOR ANALYTIC STUDY.OF IMPULSIVITY AND CREATIVE ABILITIES .

: by , L Nicholas Pacuilia

A Thesis Submitted, to the Faculty of the .DEPARTMENT OF EDUCATIONAL PSYCHOLOGY

In Partial Fulfillment of the Requirements For the Degree of. MASTER OF ARTS ,

■ In the Graduate CollegeTHE UNIVERSITY OF ARIZONA

1 9 ? 1

STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfill­ment of requirements for an advanced degree at The Univer­sity of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this; thesis are allowable without special permission, provided that accurate ac­knowledgement of source is made,. Requests for permission for extended quotation from or reproduction of this manu­script in whole or in part may be granted by the head of the major department or the Dean.of the Graduate College when in his judgement the proposed use of the material is in the interests of scholarship0 In all other instances, however, permission.must be obtained from the author.

SIGNED.

/ APPROVAL BY THESIS,.DIRECTOR This thesis has;been approved on the date shown.below;

. ACKNOWLEDGEMENTS.

The author would like to extend profound .gratitude to Dro John B0 Bergan, Major Professor, whose suggestions, have enhanced, this study, and to the other committee. members, Dr0 Ruth W„ Kingsley, whose understanding and encouragement were extremely reinforcing, and Dr, R, W. Henderson for his comments„ Dr. Maure Hurt, Jr, also contributed by his as­sistance in the statistical programming. Special gratitude is given to my wife, Lucy, whose selfless attitude and un­relenting confidence have been vital incentives during the course of this study, and of course to. my son for being what he is.

TABLE OP CONTENTS

: v : V : .. ' P a g e

LIST OF TABLES = . . , « „ „ » , vABSTRACT 8 a O o . a c ■ o ... o o' e e ‘ o e o s e o o e o " V I -

CHAPTER :I,'--' INTRODUCTION , ,, 0, :» , . , . « V , e; . " 1II. REVIEW OF LITERATURE , . . , . . ■ 7

Criteria of Creativity. . .. o , , . » 7Creativity and .Personality , . „• „ ... . 11Color and Personality, . . „ . . . ,Children's Personality, and Color , , 16Summary. , . , . . . , , * , , . . o 1^

III# METHODS. - O 0 0 0 8 8 0 6 0 0 0 0 O 0 O 20SutQects . o a c o a o a a o a o a a - 20DeS I g n a a a a a a a a a a a a a a a 20Tests. a a a a a a a a a a a a a a a BOProcedure. . . a .# # a # # a # a » # B6

IV. . RESULTS, . 0 a a a a a a a a a a a a a . B? .V, SUMMARY AND SUGGESTIONS# , . .•„ , 36

REFERENCES . a a . a a a a a a o a a a a o e a a 3 D

iv.

LIST OF TABLES

Table PageMeans and - Standard. Deviations of the .Scoring Variables with Age and

/ Sex Data of Forty-nine Tucson • Sixth Graders „ „ „ „ 0 „ „ „ „'„ 28

2„ Tntercorreiations of the Scoring Variables with Age and Sex of Forty-nine Tucson

, Sixth Graders . . . » . 293» Unrotated Factor Loadings of the Scoring

Variables with Age and Sex Data of •Forty-nine Tucson Sixth Graders „ „ „ „ 32

4, Rotated. Factor Loadings of the Scoring . Variables with Age and Sex .Data, of Forty-nine Tucson Sixth Graders . ». „ „ ,• 33

v

ABSTRACT

In this study, the relationships between the performance of forty-nine sixth graders on several selected scoring variables of the Color Pyramid Test and on the seven subtests of the Minnesota Tests of Creative Thinking, Abbr. Form VII, were examined using

■ factor analytic techniques. .Other-variables, such as age, sex and average achievement grade level scores, were, also included in the analysis,

. The purposes of this, study were to introduce a nonverbal personality assessment technique to the research of creative abilities in children, and to specifically investigate the relationship between the personality trait of impulsivity and figural creative abilities.

The results of the analysis supported the hypo­theses that there would be $ a Stimulation syndrome and figural, creative ability factor; a Total Sum of Change, and figural, creative ability factor; a use of the orange hues and figural, creative ability factor.

CHAPTER I

INTRODUCTION ' >

In many research studies investigating the person­ality traits of creative individuals $ the traditional pro­jective techniques, the Rorschach and the Thematic Apperception tests f were used (Prado, 1944$ Roe, 1946; Barron, 196,2$. Stein and Heinze,- i9 6 0? Wei she rg and Springer, 1 9 6 2)? moreover, life experience inventories and surveys, questionnaires and rating scales were used 3 Guilford-2immerman Temperament Survey (Guilford et al,, 1962c ) $ the, Minnesota Multiphasic Personality Inventory (Rees and Goldman, I96I 5 Littlejohn, 1967)1 Strong Voca- • tional Interest blank and the Study of Values Inventory (MacKinnon, i9 6 0); Cattail's Sixteen Personality Factor Questionnaire (Drevdahl, 1956)? Cattell's Junior Person­ality Quiz (Reid, King and Wickwire, 1959)l Thurstone”s rating scale (Thurstone, I9 5 2): Barron's Scale of Crea­tivity (Barron, 1953).

... These. ; instruments in one way or another have some prohibitive aspect limiting their effectiveness in research especially in dealing with children? for instance, the Rorschach and the Thematic Apperception tests require a

’ special technique of evaluation which necessitates ex- , ■ tensive training, limiting their use; with large groups of subjects; the experience inventories and question- naires,. on the other hand, have easy and generally objective scoring procedures, but nevertheless, depend upon self-report responses which in some cases might not be valil. The rating scales are also limited because their validity depends upon who is doing the rating and what standards are set which could cause errors in judge­ment (Rees .and- Goldman, 1 9 6 1) v Another important short­coming with all the above tests is that they are essen­tially verbal which is a definite limitation in dealing with children and cross-cultural subjects.

Consequently,.one purpose of this study is to investigate whether a nonverbal, projective personality technique has any applicability in creative abilities re­search so that it may supplement the aforementioned per­sonality assessment techniques, A second purpose is to specifically study the relationship between the temper­ament trait of impulsivity .arid creative ability as sug­gested in the studies of Guilford et al, (1962c) and Rees and Goldman (1 9 6 1), .

Considering first the more general purpose of the present study, the introduction of the Color Pyramid Test

(OPT) into the research of creative abilities dealing with Children, this personality assessment 'technique’ is non­verbal to the;extent that its instructions could be given - in sign language. (S c h a i e 1963)1 moreover, it has many easy and objective scoring variables;of personality assessment of factors of affect and impulse control, and data, of norms regarding young subjects„ The responses made by the sub­jects on this test are primarily to color and form stimuli, which in most cases are not likely to be falsified (Schaie, I9 6 3). The entire format of the test with its color pref­erences and color arrangement make it generally a pleasant task for children (Schaie, 1 9 6 3)„

In regards to the specific purpose of the present study, Guilford, et al„ (1962c) were interested in deter­mining what relationships might exist between measures of the temperament and motivation and factors of creative ability, ' Using the Guilford-Zimmerman Temperament Survey, they found a large number of significant correlations, between the non-aptitude traits and measures of ideation- al fluency, related to.impulsiveness,■self-confidence 'and ascendancy, .

Rees and Goldman (1 9 6 1) used the Minnesota Multi- . phasic Personality Inventory and the Guilford-Zimmerman

• Temperament. Survey with high school subjects to investigate personality traits of creative individuals „ Creatives scores significantly lower on the factor of restraint in­dicating that they tend to be more impulsive; moreover, the creatives had a significantly higher score on the Hysteria measure of the Minnesota Inventory suggesting that they are more inclined to "acting out" behavior„

In view of these findings, the Color Pyramid Test, which has been, designed to yield information on those aspects of the personality which are relevant to affect expression and impulse control (Schaie and Heiss, 1964), was used specifically in terms of several of its many scor­ing variables which reflect, as defined by the theoretical framework of the OPT, aspects of the trait of impulsivity; moreover, these scoring variables seem to represent some aspects of the creative individual as suggested by others (Barron, 1962; Schaie and Heiss, 1964). . '

In terms of the theoretical framework of the CPT, as described by Schaie and - 'Heiss. 1964,, these scoring ■ variables are described as followsi

1. Stimulation syndrome (Ssyn)» When there are . high scores on this measure, this indicates an individual who is easily excited and who responds in an impulsive manner„

2, ■ Total Sum of Change (TSC) This measure' is a combination nf the Maximal Sum of Change (MAS) and Minimal

Sum of Change (MiS) measures of the OPT, A high score on the .TSO would indicate, either the S°s readiness to attempt new.response patterns or anxious and impulse driven change­ability depending on the contribution of the MaS or MiS to this measure„ yv.

. 3o Drive syndrome (Dsyn)„ Elevated scores on, this measure are interpreted as evidence of a high energy level and ability to invest affect in productive activity. This measure seems to assess the general description of the cre- - ative individual as suggested by BarrOn (1 9 6 2).

4, Use of the orange hues (Or.). This measure has been included in the present study since Schaie and Heiss (1 9 6 4) indicate that in a study of creative artists, these artists mostly used the orange hues during their perform­ances on the OPT. Although the present study does not in­volve creative artists, this finding might have some relevance: to the figural creative criteria used.

As criteria of creative ability, the present study has used the Minnesota Test of Creative Thinking (MTCT)Abbr. Form VII. Using the various research findings of Guilford and various associates', , Torrance developed this test battery for his research of creative abilities in young children. The seven subtotal scores of this battery were used,in the present study with the scoring variables

■ ' ' ■ ■ ■ , ' ■ ■ 6

of the OPT as cited above, in a factor analysis in order to investigate whether there would be substantial factors, o30 or above, outlined as follows:

; 1 o Stimulation syndrome ■ (Ssyn), .figural creative ability factor, which would generally support'the Guilford et al0 (1962c ) and Rees arid Goldman (1 9 6 1) studies which indicated the trait of impulsivity in the creative person­ality 6

2 e Total Sum of Change (TSC)„ figural creative factor which would be further general support to the Guilford et al0 and Rees ".and Goldman studies „

3e Drive syndrome (Dsyn) figural creative ability factor as supporting the creative personality description as generally proposed by Barron (1962 )„

4, Use of orange hues (Or,), figural creative .factor,.

CHAPTER II .

REVIEW OF LITERATURE

Criteria of Creativity .- The essential criteria of creativity is generally

a product which has been evaluated in some social terms as being a creative production (McPherson, 1956), Reid, King and Wickwire (1959) assert that the major short­coming with the product based criteria is that the crea- • tiye individual could only be identified after he has realized his creative potential; moreover, the product criterion is inadequate to use with children in that their attainments are still unlikely to be sufficiently sophisti-. cated to be generally recognized„ .

One could only imagine the possibilities that might have been if the creative individual, who perhaps was not discovered until many years after his death, had been rec­ognized at an early age in his life„ In view of this, as Torrance (1 9 6 2) and many others indicate, it is necessary that some methods of identifying the creatively potential individual in the general population should.be developed. This.would avoid leaving the recognition of the creative individual to chance.

7

; : V : . :■ . :8:Although there have- been many investigations thus

far as to what methods, seem appropriate and. reliable .in- assessing creative abilities, the most extensive and clear approach in developing paper and pencil measures of creative ability have been rather recently made by Guilford in a num-' b'er of studies with various collaborators.

' -'-Primarilyp' the research of Guilford and - his associ­ates on the different kinds of abilities within creativity has been predicated on Guilford6s "Structure of Intellect" model,, and the use of factor analytic techniques,

: Within Guilford6s cubical model of the intellect(1956)> three classifications of intellectual abilities, . contents, operations, and products are represented and combined. Each of these classifications are subdivided, as for examples contents is divided into categories of figural, symbolic , semantic and behavioral dimensions $ operations into cognition, memory, divergent production, . convergent production, and evaluations and products into . units, classes, relations, systems, transformations, and implications. All of these dimensions are cross classified into one-hundred and.twenty different parameters each of which is represented by a cell in the model.

According to Guilf ord (1962c) the "Structure of Intellect" model provides an empirical basis for

investigating hypothetical constructs» such, as, reason­ing, problem-solving, intelligence,.creativity, and etc,: for instance, tests could be constructed in terms of a combination of the three major classifications; whereupon, the strategy would be to use these tests in a factor analysis ' study in order to determine whether they represent a distinct ability-as predicted by the model.

Considering the concept of creativity within the model, Guilford . (1962a) indicates that most of the creative abilities are represented by the category of divergent-production in the classification of operations. With the four content . categories and the six.product categories, there are, there­fore, twenty-four parameters of divergent abilities.

Two other operation factors which determine creative abilities, according to Guilford (1962a) are: the conver­gent -product ion category in combination with transformation and the four content categories $ the operation of evaluation with semantic implications. These factors account for five more parameters of creative abilities,

In fact, as indicated by.Guilford.' (19.62a) /most. of the intellectual abilities' reflected by the model may contribute: ' apppe c iably t o c re at ive behavi or; for instanc e : ••the cognit lye abilities are basic; without having information, there is no intellectual performance of any kind; without retention all learned information would be lost; finally if there be any

se 1-f-c ri t i c ism r . whi c h..; the re should be iu.) order for the creative individual to do a complete job, then the oper­ation of evaluation is also necessary„

■ At this point $ it might be appropriate to illus­trate with several examples how Guilford's model provides an empirical approach to the concept of creativity. Select­ing a cell within the model; which is a combination of se­mantic content divergent production, and units would., _ according to Guilford, indicate the ability of ideational fluency. This ability would be operationally defined by tasks involving a rapid listing of meaningful words, or the listing of ideas to meet meaningful requirements„. An example of these kinds, of tests would be giving as many uses, as one can for a common brick (Guilford, 1962a)„

.Of the many studies which Guilford and his various associates have done, the Guilford, MerrifieId and'Cox (1 9 6 1) and the Merrifield, Guilford and'Gershon (1 9 6 3) studies are indirectly relevant to the present study.

In the former, study, eight divergent-production factors which had been previously recognized with adult males * were under investigation using six-hundred ninth- graders, The results, of four analyses in this study substantially verified the eight factors at this level.

Using sixth grade subjects, Merrificld» Guilford and Gershon (1 9 6 3) studied divergent-production factors at this level. Although this study was'restricted by a four . hour testing period limiting the number of factors and ' . tests to be used, the results, nevertheless, indicated sub- , stantial loadings (,3.0, or higher) on five of the divergent- production factors as Well as a evaluation factor.

In terms of Guilford6s research, .Torrance (1 9 6 2) developed various test measures which would be appropriate to use with younger subjects, Torrance modified the tasks suggested by Guilford in developing the Minnesota Tests of Creative Thinking, Abbr. Form VII, which was used as crea­tive abilities criteria in the present study.

Creativity and Personality.Regarding creative achievement, there seems to be

general agreement among many researchers dealing with creativity that personality factors are extremely, important, to cite a few of these researchers: Golann (1 9 6 3) states thatit is now possible and perhaps we are now ready to use person­ality factors as criterion variables; Cattell and Butcher (1 9 6 8) assert that in short termed situations creative abil­ities may be more of a factor, but however, .creativity extend­ing over years in a' life situation is evidently more determined by personality and. by motivation factors yet to be measured. ■ .

Torrance (1 9 6 8) .indicates that while tests of developed .abilities .provide -some ..clues concerning creative, potential., tests that reveal personality qualities which predispose a person to use and further develop these abilities are also - necessaryc

As cited earlier, Guilford, et al, (1962c) being interested in determining what relationships might exist between measures of temperament and motivation and factors of creative ability have found a large number of signifi­cant correlations, between the non-aptitude traits and .. measures of ideational fluency appears to be related to impulsiveness, self-confidence and ascendancy.

Using, several criteria tests' from the Minnesota battery,/Weisberg .and Springer (196.2 ) used the Rorschach, and the Draw-a-Family techniques to assess the personalities ; of thirty-two gifted, f ourth graders and their families„. Judgements of the. children were made by psychiatrists on : the basis of interviews. .Among many other findings, the highly creative children during the interviewing man- 1ifested greater alternating behavior between controls appropriate to adolescence or adulthood and impulsive almost infantile behavior.

. Reid., . King and WickWire (1959) used Cattell's Junior Personality Quiz to investigate -the-difference on personality -and cognition between twenty-four creative and non-creative

; v . ' 1"seventh graders selected by a peer rating scale, The findings . indicate that creative children.seemed to be less anxious and friendlier than the non-creative children.

As cited before, Rees and Goldman (19ol) used:the Minnesota Multiphasic Personality .Inventory and the Guilford- Zimmerman Temperament.Survey with high school subjects to investigate personality traits of creative individuals.Greatives scored significantly lower on the factor of restraint indicating that they tend to be more impulsive 5 moreover, the . creatives had a significantly higher score on the Hysteria measure of the Minnesota Inventory suggesting that they are more inclined to "acting out" behavior,

.In the present study, as mentioned earlier, the Color Pyramid Test (OPT) is used, which in view of the above find­ings seems rather appropriate in that it has been designed to yield information on those aspects of the personality which are relevant to affect expression and impulse control (Schaie and Heiss, 1964),

Color and .PersonalitySchaie and Heiss (1964) state that because of the

subjective experience of color phenomena, psychologists have for a long time been Concerned with the laws of color vision. They suggest that in this area one of the most

pervading subjects of concern and study has been the matter . of color preference and the connotations and concomitants of such preference; moreover, the numerous findings available regarding the relationship between color preference and affect support the thesis that response to color might be viewed as a useful source of information for personality description,

Hevner (1935) in presenting a number of colored designs which had to be matched with adjectives on a Check­list found that blue seemed.to express dignity, sadness, and tenderness while red represented happiness, restlessness and agitation. '

. Lewioski '(1938) ' used, colored lights to illuminate rooms, the Ss described their experience in the differently colored, illumination. Blue and green light were judged as "most pleasant" and "cool"; orange and yellow as "most un­pleasant" and together with red as "hot",

Schactel (19^3) in his review of the Rorschach literature on color and affect made the following conclu­sions red has properties for causing an explosive and passionate affect; yellow induces serene cheerfulness and gentle stimulation; orange induces feelings.of warmth and delight; while blue and green with avoidance of red in­dicated control of affect,

Wexner (195^) prepared a list of 164 adjectives and had judges choose the words which they felt referred to dis­tinct mood-states„ Groups of words referring to eleven mood-. states were selected and ninety-four students Ss were then asked to select from eight colors those which seemed to go best with each mood-tone, ' The results indicated a significant relation - between certain mood-tones and colors; for examples red was most frequently associated with exciting stimulating5

yellow with cheerful-jovial-.joyfulfiblue:^with security- ' comfortable and.tender-soothing5 etc„ There were also find- , ings:of mood-tones with multiple color■associations 5 that.is, red, brown, blue, black and purple were related to the verbal mood-state of protective-defending„

Schaie ■ (1 9 6 1) . studied the Q-sort ratings, by,twenty professional judges on the association between eleven sub­jective mood descriptions and ten colors„ There were signi­ficant results, at „001 level of significance indicating that, the strength of the color mood-state depended upon specific colors and mood-tones; moreover, the findings of this study demonstrated.the presence of significant .indi-. vidual differences ,in associative patterning beyond group consistencies 1 therefore, supporting the use of color as a potentially diagnostic technique„ ' : ■

Children's Personality g.nd Color ... . Alschuler and. Hattiwick (19^3) studied 1.50 pre-

school children in eight.different nursery groups„ 'They' secured daily records on each child for one year on Such productions as paintings, crayon drawings as well as other art media, together with social and developmental data.Both statistical methods and case studies were used.in­dicating that use of color gave insight into a child's emotional life; for example, red was found to he a preferred color during early preschool years when the child acted most impulsively. As more emotional control was gained, interest in red decreased. Red was also associated with feelings of affection and love or with feelings of aggression or hate, This■is indicative of the bipolar meanings associated with color. Blue, on the other hand, was associated with drives toward restraint; green was associated with controlled func­tioning manifesting a few strong emotional reactions; orange with tempered emotions such as sympathy and. friendliness $ and black with intense anxieties and fears,

Reporting data on 200 children ranging in age from 3 to 15 years, Bricks ■ (1944) observed children in their art classes for over a two-year period. In their art classes, the children were permitted to paint and draw whatever they wished, 'Interpretations of personality were based on the.

sequence of content of each child's pictures„ In different situations the children used different colors, for example in states of anxiety and depression, the muddy and dark colors were used ; "black was used "by children , who repressed emotions $ only in periods described as regressive did brownappear; and yellow and red appeared in acute emotional con­flicts, as expressions of hostility and aggression. . •~ In his summary of reports on color choice using afinger painting technique, Napoli (1951) states that the dominant colors for male children were found to be blue and green, while girls preferred red and yellow; moreover, normal boys use black and brown more often than girls while orange is rarely used by either. . Because different meanings are attached to colors, the choice of color could be interpreted in bipolar terms? therefore, green, for instance, tends to be symbolic of security, peace and rest at one end and sym­bolic of jealousy, hate and aggressions at the other, end".

Using color in a different approach, Starkweather and Frieda (196^) measured-the conforming and non- conforming behavior of a. creative and non-creative group of preschool children on the basis of their color choice„ Their findings were that the creative group was more con- , sistent and less conforming in their choice of colors.

Summary .. In the first section of this chapter, a general

review was given on the research of Guilford who has developed many paper and pencil tests to use as .creative • abilities, criteria-,, . Through the hse of his . "Structure of Intellect" model and factor analytic procedures, Guilford and various associates matched the intellectual abilities, which lie across divergent-production in the model, with various tasks apparently reflecting these abilities„

Torrance $ who developed the test of creative abilities which is used as criteria in the present study, utilized the research findings of. Guilford $ however, Torrance modified Guilford8s tests so that their content would be more appro­priate for childreno

' The second section discussed the importance of creativity research using measures of personality and motivation. The studies cited in this section reflect the use of various personality assessment instruments with younger subjects'. Among findings of most of these studies, there appears to be general agreement in terms of the im­pulsiveness of the creative personality. The present study is.directly considering the general findings of impulsivity in.the Guilford et al, (1962c) and the Rees and Goldman(1 9 6 1) studies,

The third section. Color and.sPersonality, considered the use of color stimuli for assessment of personality traits, particularly in terms of mood-1 ones and affect evoked by : color stimuli. Several studies were cited, which indicated the subject’s feelings as associated with various Color stimuli. The colors with longer-wave lengths seem to be arousing, while the shorter-wave length colors suggest feel­ings of restraint. Based.upon some of the findings cited, the Color Pyramid Test was developed to describe the aspects of personality which are relevant to affect expression and impulse control.

In the final section, a review of some studies deal­ing with children and using color as a basis, of their per­sonality description were discussed, All of these studies found.a relationship between some personality moods and characteristics and the use of color in various types of art media. In a.sense, the Color Pyramid Test could be considered a type of artistic expression in that it has a selection and arrangement type format; also, as with the media used in the above studies, it is an enjoyable task to children.

CHAPTER III

METHODS

• . SubjectsTwenty-six boys and twenty-three girls from

. three sixth grade classes of Mission Manor Elementary School, Tucson, Arizona, served as Ss„

DesignAll ninety-three pupils in the three Sixth grade

classes were scheduled for taking the three tests used in this studyo ; Each test was given on a separate day,. and they were scheduled at the convenience of the school

Tests /'w-The Minnesota Tests of Creative Thinking (MTCT)

battery, Abbr6 Form V I I h a s two nonverbal subtests, In­complete Figures and Circles, and two verbal subtests, Product Improvement (Toy Dog) and Unusual Uses (Tin Cans)„

programo Of all the ninety-three students, only forty-nine Ss had data on all three tests given0

;■ : / -^y :: ' -' ' .. : ■ Y ' ' . . 21The nonverbal tests are scored in four categories g flexibility, fluency, originality, and elaboration; the verbal tests are scored in the same categories except for elaboration.

Describing-the various subtests in this battery, the first test is the Incomplete Figures Task which, as Torrance (1962) indicates, is an adaptation of Drawing Completion Test developed by Kate Franck, This task is comprised of ten figures, each consisting of various lines and curves configurations. The subject is ins­tructed to use these figures in drawing some object or . design that they think no one else would think of; moreover, the- subjects should add as many different ideas as they can. Next to the number of each figure, the subject should place a made-up title of their draw­ings if they are able,

The Circles Test is the second test of the battery. This task, as the Incomplete Figures, is nonverbal. It is comprised of thirty-six quarter-sized circles place along eight rows. The subject is given generally similar in­structions as with the Incomplete .figures 5 however, in this task the subject has the option- to use as many circles for any one of his:' ideas'. Both this, task and. with the In­complete Figures,.- the .subject.is allowed to use any instru­ments, as, rulers,. crayons, paintsetc., that they wish to.

" "L:'v - . . ; : ; v.'':f-: ; .■'.' 22In the third taskg Product Improvement (Toy

Dbgjs, the sutject must write as many Ideas as he can describing ways he would, modify.a toy dog depicted in the. task„ The subjects are iristi’ucted that the mod­ifications they make should be changes which make this toy dog "more fun" to play with* As with the previous tasks? the subject8s ideas should be what he thinks no one else would think of*

.The final task of the - battery is the Unusual Uses (Tin,Cans)=Test» The subject is told that there are: thousands of interesting and.unusual uses for tin cans which are usually thrown away? moreover, the subject is to write as many interesting and unusual uses for the tin cans he can think of0 The number and size of cans used in their ideas does not matterc As with all of the above tasks, the subjects are given ten minutes time0

The Scoring for these tests is done,in terms of four categoriess flexibility? fluency; originality and elabora­tions Flexibility is determined by counting the number of different categories used. In order to determine the flu­ency score s the number of different objects drawn or de­scribed are simply counteds Originality is scored? as definedi by uncommoness of response in a: statistical,sense.A scale value of zero is assigned to responses given by

twelve percent or more of the subjects0 Responses given ranging: froms five to twelve percent are assigned a value of one §: two to five percent^ a value of two; one to two percent8 a value of three § and less than one: percent, a value o f f our» With elaboration scoring? the subject's- capacity to implement and build on the basic idea is as­sessed § for instance? if the subject adds any detail, as smoke .coming out of a chimney of the house, he is given points for each of these "non-essential" details,

, The seven subtotal scores of the Minnesota Test battery, as indicated before, were used in the present study8s analysis and are indicated as followsg nonverbal fluency (TNVF), nonverbal flexibility (TNVFx),.nonverbal originality (TNVO), nonverbal elaboration (TNVB), verbal fluency (TVF), verbal flexibility (TVFx), verbal original­ity (TVO), The scoring, was done in terms of the. prescribed procedures, (Yamamoto, 1964), .

The test material of the Color Pyramid Test (OPT) consists primarily of one-inch squares of colored papers in twenty-four different hues and of the. fifte.en-field pyramid form upon which the colored papers are placed.The color stimuli include s, four shades of red $ blue and green? three , shades of purple.$ two shades of orange? ..

yellow and "brown; and one shade each of whites gray and "black„ These twenty-four hues are grouped into ten basic color categories„ A subject is given a set of these colors, which is comprised of fifteen chips of each hue totaling three-hundred and sixty chips,..

When the OPT is administered, the subject is ins­tructed to cover all fifteen fields of the pyramid by selecting a color chip.from the three-hundred and sixty randomly mixed chips placed before him. The subject is also instructed at this point to make "the prettiest" : pyramid in color that he can. After he completes this pyramid, the subjectBs responses of color selections are recorded according to the established scoring. The sub­ject then places the chips he selected for the first pyramid back with the other chips and mixes them; again he is instructed to make the "prettiest" pyramid in color that he can. This same procedure of instruction and scoring is continued through the first three pyramids.On the fourth pyramid, however,the subject is instructed to make the "ugliest" pyramid in color that he can. These instructions and the regular scoring procedure for all the pyramids is continued until three "ugly" pyramids are com­pleted ; whereupon, the subject has completed six pyramids with both types of instruction, ■

Evaluation of the subjects performance is done in terms of the prescribed procedures (Schaie and Reiss, 196^)1 as an example, one level of scoring might be in terms of color choices. This procedure is simply a mat­ter of adding all the subtotals of color choices for the three "pretty" pyramids, and separately for the "ugly" pyramids?-thereupon, the sum total of choices for each of these groups of pyramids should be forty-five.

In this present study, the group administration was used, Hooke and Schaie (1 9 6 8) used a group, adminis­tration of the Color Pyramid Test, which was originally developed as an individualized technique, and they found that the reliability and validity were equivalent to the individualized technique. The modifications of the indi­vidualized procedure of the OPT for group administration are s the six printed pyramid fields are given to the subject on separate sheets; besides the verbal instruction there,is also written instructions on each sheet; the stimulus color squares are colored on only one side with the nuetral side having the code number for the square's hue, facilitating the recording of the responses for each pyramid, -

Another test used in this study was the Stanford Achievement Test (SAT), Level 6 , Form X. Scoring of this test was done as outlined in its manual.

, v-;viv;V: ' 2 6.;Procedure

The first; test given to all three classes was the Stanford Achievement Test, ' This test was administered by the regular classroom teachere For this study the mean grade level score for all the subtests was used„

The second test administered in the Ss regular classrooms was the Minnesota .Tests of Creative Thinking (MTCT) Abbr„ Form VIIe In conducting this test, the E, who was familiar to most of the children, used the pre- . scribed warm-up procedures (Torrance, 1 9 6 2)„ These pro­cedures were employed for each subtest until there seemed to be a sufficient understanding of what was required by each task„ The 2 was assisted by the regular teacher in rnonitering the test . All of the MTCT testing was. done on the same day,. Scoring was done in terms of the prescribed procedures (Yamamoto, 1964),

Before conducting the last test of this study, the Color Pyramid Test (CPT), all pupils in attendance were administered the Dvorine Pseudo-Isochromatic series • -of color blindness. After this, the.CPT group administration was conducted in each class. The S was assisted by the regular teacher in rnonitering the test„ All of the CPT testing was done on.the same day. Scoring was done in terms of the prescribed method (Schaie and Heiss, 1964) for the variables considered in this study.

CHAPTER TV

RESULTS •

The seven subtotal scores of the Minnesota. Tests of Creative Thinking (MTCT)s the'selected scoring vari­ables of the Color Pyramid Test (CPT), the mean grade level score of the Stanford Achievement Test siibscores', and age and sex data were factor analyzed using the facil ities of the Computer Center of The University of Arizona A .prihcipal-axis: solution was computed, followed by a Varimax rotation0

Table 1 (page 28) presents the means and standard deviations for the variables considered in the present study,. . . .

Table 2 (page 29) presents the intercorrelations of the variables used in this, study. As indicated1,; the subtotal scores of the MTCT have significant correlations (P ,05) with the selected scoring variables of the CPT, as follows: Total Nonverbal Fluency with Total Sum ofChange (,21), and Orange (.20)? Total Nonverbal Flexibil-' ity with Orange -( ,20.)? Total Nonverbal Originality with ' Total Sum of Change ( ,20.) ? Total Nonverbal Elaboration •: with Stimulation•s y n d r o m e.(,5o) and Orange ■ (,44); Total

28Table 1 . - -::v

Means: and Standard Deviations of the Scoring . Variables with Age and Sex Data of Forty-nine Tucson Sixth Graders

Variable Mean S.D.

Sex .6 .5Age . ; 11.4 1 . 6

Total Nonverbal Fluency . ; 16.9 . 5,8Total Nonverbal Flexibility 1 0 .1 4,6Total Nonverbal Originality - 4,0Total Nonverbal Elaboration 7/5 9,1Total Verbal Fluency 25,3 12.3Total Verbal Flexibility 11,9 5,7Total Verbal Originality ' 5,1-: 10,3Stimulation syndrome 2 3 ,0 7,6Drive syndrome 15.9 6 ,2

Total Sum of Change 3,7 2 , 0

Orange■ y ' 5,9 7,9Achievement. 5.4 1 . 1

Table 2

intercorrelations of the Scoring Variables with Age ' . and- Sex Data of Forty-nine Tucson Sixth Graders”

Variable Age . TNVF TNVFx TNVO TNVE TVF TVFx. TVO Ssyn Dsyn ' Or. TSC SAT .

Sex -.05 I-.IO ' -.I? -.04 . ,-.2? -.01 ,.14 - .17- -.06 .08 -.31 .21 -.36Age .23 -.09 -.14 .18 -.14 -.28 -.05 .20 .11 .04 .14 -.23Nonverbal Fluency (TNVF) ..61 . .28 .12: .18 .12 .01 .01 -.10 .20 .21 .15Nonverbal Flexibility (TNVFx) .. . .48 . .08 . .33 .27 -.01 -.08 ' -.03 ,20 ' .16 .26..Nonverbal Originality (TNVO) . . . . ..20 .26 .29 .07 -.17 -.05 -.02 .20 .34Nonverbal Elaboration (TNVE)' .09 .17 .82 .56 -.13 .44 -.10 . .31Verbal, Fluency .(TVF) . .78 .23 .13 -.,09 - .07 : .16 .32Verbal Flexibility (TVFx) .' . ' . .41 . .13 -.21 .06 .10 .39Verbal Originality (TVO) . : .57 -.33 .42 -.03 ,31Stimulation syndrome (Ssyn) • ' -.34 . ,66 - .01 .21

•; Drive syndrome (Dsyn) -.09 -.06 .04Orange (Or) . • -.21 .27Total Sum of Change .06Achievement (SAT) '

■ . - r . ■■ ' - 30

Verbal Originality with Orange (,, 2) and Stimulation syn-.drome (057)I. moreover8 this table reflects significant correlationsg among nearly all of the nonverbal subtotal scores ? among almost all the verbal scores» between most of the verbal and nonverbal scores„ Across almost all of the MTCT subscoress there are significant correlations with :the average achievement grade level score„ . There were nosignificant correlations between age and the other variables except Total Sum of•Change (.21). Sex correlated signifi­cantly only with Total Nonverbal Fluency (.23) and Stimula­tion syndrome (.20).

There are significant correlations between the fig- ural creative abilities9 as measured by the MTCT, and the Total Sum.of Change.and Orange scoring variables of the CPT? also, a significant relation between the originality meas­ures and the flexibility and stimulation variables. In terms of these correlations, there appears to be specific results in support of the hypotheses proposing an impul- sivity/ creative abilities relationship.

The correlations among .the separate content subtotal scores9 and those between these two content subtotal scores are similar to a degree with the findings of Madaus s 1 9 6 7;■ on the other hand„ the correlations of achievement with most • of the MTCT scores are not consistent with the findings in other studies (Getzels and Jackson, 1962; Madaus, 1 9 6 7).

. r -- ■■ ■■■ y- ; ; ■: ■ ; . ' : ...... 31One possible explanation for this inconsistency, at

least in terms of the Getzels. and Jackson (1 9 6 2) study, might be that the sample of subjects in the present study had. an average; achievement grade, score level, of (5**0 which is. somewhat below their actual grade level? whereas, Getzels, and 'Jackson, did not find a significant relation between I.Q,■ and' creativity above an I.Q. of 120 of which the group, "generally, in the present study, seem.to be considerably below.

Table 3 (page 32). presents unrotated factors for the principal-axis solution. As indicated, loadings of .30 or above for each of the factors are as follows 3 Factor I, Total Nonverbal Elaboration (.7^)? Total Verbal Fluency (.33); Total Verbal Flexibility (.41), Total.Verbal Originality (,80)., Orange (.80), Stimulation syndrome (.71) and Achievement (.,45) ? Factor II, Total Nonverbal Fluency (.47), Total Nonverbal.Flexibility (.64), Total Nonverbal

:Originality (.65), Total Verbal Fluency (.6 6 ), Total Verbal Flexibility (,64),. and Total ;Sum .of. Change (.35) { Factor . III, Age. (.71), Total Nonverbal Fluency (.6 7 ), a.nd Total Non­verbal Flexibility (.40)?. and Factor IV, Age (.48),. Total Nonverbal Elaboration (,43), Total Verbal Flexibility. (.33), and Drive syndrome (.33).

Table 4 (page 33) presents the rotated factor structure„ Sixty-six percent of the variance among the test

32Table 3

Unrotated Factor Loadings of the Scoring i Variables with Age and Sex Data of

Forty-nine Tucson Sixth Graders

Variable I II III IV

Sex -.35 -.0? -.12 -.05Age -.09 -.22 .71 .48Total Nonverbal Fluency .20 . .47 .67 -.17Total Nonverbal Flexibility .25 .64. .40 - . 3 6

Total Nonverbal Originality .17 ,65 .09 -.07Total Nonverbal Elaboration .74 . .-.09 .16 .43Total Verbal Fluency .33 .66 -.27 .16Total Verbal Flexibility. .41 ,64 -.41 .33Total Verbal Originality ,80 : -.07 -.15 ,06Stimulation syndrome .71 -.32 -.09 ,29Drive syndrome -.47 ,08 ,05 .33Total Sum of Change -.12 ,24 .21 .06

Orange .80 -.35 ■ ,29 -,20Achievement .45 .23 .-.15 .22

33' Table 4

Rotated Factor Loadings of the Scoring Variables with Age and Sex Data of

Forty-nine Tucson Sixth Graders

Variable :. 1—I H III IV h2

sex ' _ -ol9 -.01 .22 / .00 .52Age .22 -.51 ,24 .38 .81Total Nonverbal Fluency .10 ”, 02 . 85 -. 05 .73Total Nonverbal Flexibility -.12 ,22 .82 - .1 6 .78Total Nonverbal Originality -.0? .43 .51 ,04 .46Total Nonverbal Elaboration .81 ' .14 ' ,08 -.15 .77Total Verbal Fluency .11 .80 . 19 -.01 .71Total- Verbal Flexibility - .13 ON00 ,10 -, 06 .82Total Verbal Originality : .73 .37 -, 12 ; -.33 ,80Stimulation syndrome .78 .03 -.11 -.37 .76Drive syndrome -.13 . -.14 -.03 ON Vx .52Total Sum of Change .05 - .14 - .34 .09 .63Orange .48 10 .19 -.64 .81Achievement .24 .52 ,22 .07 .67

intercorrelations was accounted for by the four factors which emerged in the analysis. Factors with loadings less than ,30 are not included in the discussions. The factors were the following: ' .

Factor I, This factor has substantial loadings on two MTCT subtotal scores, Total Nonverbal Elaboration (.81) • and Total- Verbal Originality („73)» and two of the selected . scoring variables of the OPT, Orange (,48) and Stimulation syndrome (,78), which indicates specific results supporting two of the four proposed hypotheses.

Factor II, In this factor, the three Verbal sub­total scores of the MTGT have substantial loadings, Total Verbal Flexibility (.89), Total Verbal Fluency (,80) and Total Nonverbal Originality (,43)s moreover,.a total Non­verbal Originality (.43) and a substantial loading of (,52) on the Achievement score was reflected. An appropriate description of this factor, therefore, would be a verbal, originality, achievement factor. As far as the verbal, and achievement findings are concerned, it seems apparent ; that academic achievement would indicate an inclination for verbal ability. In terms of other studies, Beilin (1 9 6 7) found higher correlations between the MTCT subtests and I„Q, than the nonverbal subtests.

Factor III, With this factor, the three non­verbal ETOT subtotal scores have substantial loadings s

Total Nonverbal Fluency (,85)» Total Nonverbal Flexibility . („ 82) 'and Total Nonverbal Originality („ 51) I more over , with - these MTGT scores, the Total Sum of Change scoring variable of the OPT has a substantial loading of (.34), Regarding the present study, this appears to be a figural creative,Total Sum of Change factor which Supports one of the pro­posed hypotheses.

The above analysis supports the content separation . between verbal and nonverbal subtests of the MTCT as found in (Yamamoto and Frengel, 1 9 6 6); furthermore, this nonverbal factor did not relate to achievement as highly as the verbal.

Factor IV„ In this factor, the age variable has a substantial loading (,38) with the Drive syndrome (.6 5) of the OPT. According to the theoretical framework of the CPT the individual with an elevated score" on this variable would manifest a greater amount of sustained energy to productive ends (Schaie and Heiss, 1964)„ Assuming that the older, subjects within this study have determined this factor, it could presumably have been caused by developmental conditions.

CHAPTER V

- ' . SUMMARY AND SUGGESTIONS

There were two purposes for this study5 one purpose was to introduce a nonverbal personality tech- unique $ the Color Pyramid Test (OPT) into the research of non-aptitude traits and creative abilities» especially ... dealing with children's the second specific purpose was to investigate with the CPT the temperament trait of impul- sivity in the creative personality as indicated by several studies 0

■ In order to consider the trait of impulsivity in terms of the theoretical framework of the CPT, the Stim­ulation syndrome and Total Sum of Change scoring variables were selected. Also considered was the Drive syndrome scoring variable; since it generally seemed to represent a personality characteristic as suggested by Barron (1 9 6 2)„The use of orange variable was rather generally considered in terms of findings of Schaie and Heiss (1964),

As creative abilities criteria, this study used the Minnesota Tests of Creative Thinking (MTCT), Abbr, Form VII,

36

X': ■ >'. : v 37;Although the present study only considered the figuralaspects of this test, in terms of its hypotheses, all sevensubtotal scores, both figural and verbal, were used in theanalysis.

In terms of both the scoring variables of the CPT and the figural subtotal scores of the MTCT, four hypotheses were proposed„ Two of these were concerned with impulsivity of the creative personality as indicated by other studies; fthe others were proposed because of indirect relevance with suggestions and findings in other studies„

Of the four hypotheses proposed, the data analysis indicated substantial factors supporting three hypotheses, as follows5 a Stimulation syndrome and figural, creative . ability factor? a Total Sum of Change and figural, creative ability factorj a. use of orange arid figural, creative ability factor„

From■the data analysis, support of the findings in other studies was reflected s a verbal creative abilities ;and intelligence factor was extracted which has been in­dicated in other studies5 the separation of the verbal and figural content scores of the MTCT, as found by others, was also determined„

Although there were many limitations in the presentstudy, creativity criteria, sample size-, age, etc., the - .

results generally indicated that the Color Pyramid Test qualifies as a procedure for investigating the personality trait of impulsivity in creative children - at least» in relation to divergent thinking ability tasks.

Some of the possible scoring variables of the OPT and suggestions which might be theoretically appropriate for further research in creativity are:

1» A study using the Stimulation syndrome.(Ssyn) and the Avoidance sequence (As)y

2„ A study using the Form .Level scores combined with choice of color. This was suggested to the author through personal correspondence with Professor K„ W, Schaie,

3 o A use of the color orange in some sort of research design which particularly explores figural or artistic creative ability. - .

4. Any variation of the CPT variables used in the present study with other methods of creative criteria.

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