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Creative giftedness: How to find it and Creative giftedness: How to find it and how to develop it

Todd LubartLATI: Laboratoire Adaptations Travail pIndividuPsychology Institute – Paris Descartes U i it S b P i Cit U i itUniversity – Sorbonne Paris City University

A little background: Homo habilis ( 2 million years)Homo habilis (- 2 million years)

“Cave Art” (- 40000 years)

The creative gifted: A resource for humanity that seems hard to detect

C ti it 21st t tCreativity: a 21st century competency

2010 IBM international study(N=1541)

− Creativity is the top capacity sought in close collaborators

2013 Ad b 4000 1 t 12 t h d t (USA UK G A t li )2013 Adobe survey, 4000 1st – 12 teachers and parents, (USA, UK, Germany, Australia)

− 85 - 90% parents, 65 - 87 % teachers : creativity needed for future economy

− 89% teachers 87% parents (USA) wish to see more attention to creativity in schools− 89% teachers, 87% parents (USA) wish to see more attention to creativity in schools

OECD – international study, 15 countries, 2016-2018, PISA2021

World Economic Forum 2018: Creativity in the top 3 capaities for employability

Creativity: the ability to generate new to generate new productions that are meaningful in their contextcontext

Creative potential = the latent state of b i bl t being able to generate new productions that are meaningful in their meaningful in their context

Potential Potential - The ability to develop, achieve or succeed a desired future state- A latent state of what may come to be

(seed) may be become a big walnut tree(seed) may be become a big walnut tree

The walnut may be also become part of a saladpart of the ground soilpart of the ground soila souvenir of a nature walkpart of a science experiment on Marsp ppart of a toy

…

id i i l?Did you say Creative potential?

Rib t (1900*)Ribot (1900*) :Every normal person creates more or less. He/She can in ignorance invent something that was already invented a thousand time; if it is not a creation for the species, it remains one for the individual. We restrain invention unduly on only attributing it to great inventersgreat inventers..

Types of creativity : ArtisticTypes of creativity : Artistic, Numerical, Scientific, Practical/mechanic, Commercial, Utopian/moralTypes of creativity : ArtisticTypes of creativity : Artistic, Numerical, Scientific, Practical/mechanic, Commercial, Utopian/moral

* See Mouchiroud & Lubart (2018) T. Ribot. In V. Glaveanu (Ed.) Creativity Reader. Oxford University Press.

Multivariate approachCreative Potential: Creators

Cognitive factorsSpecific abilitiesp

Knowledge

Creative potential according to the domain

Conative factorsSpecific traits

Motivation

according to the domain

Affective factorsEmotion traits

E i t

Creative Production(achievement - talent)

Emotion traitsEmotion states

EnvironmentCulture

Sternberg & Lubart (1995), Lubart et al., (2003/2015)

Creative Potential, P-E fit and Big Cg

Jean‐François Millet  ‐‐‐ Vincent Van Gogh

Ingredients andIngredients and Creative Process

A two mode processEach mode associated with certain ingredientsEach mode associated with certain ingredients that facilitate itThe modes and ingredients are deployed in specific ways for each domain and task p y

Divergent-ExploratoryDivergent Exploratory

?? ?

StimulusStimulus

?? ?? ?

The Divergent-Exploratory Mode ofThe Divergent Exploratory Mode of thinking

A set of internal factors are relevant: Cognition: Selective encoding, Flexibility, Knowledge, g g, y, g ,Personality: Perseverance, Openness, Non-conformityMotivation: Novelty-seekingMotivation: Novelty seekingEmotion: Positive emotion

Convergent-IntegrativeConvergent Integrative

The Convergent-Integrative Mode ofThe Convergent Integrative Mode of thinking

A set of internal factors are relevant: Cognition: Selective comparison(analogies, metaphors), selective combination (bisociation, janusian thinking, …), evaluationPersonality: Perseverance, Non-conformity, risk taking, Ambiguity tolerance, Motivation: Need for Achievement, Need for OrderEmotion: Negative emotion

Creative Potential and the limits of measurement tools

Creative Potential: Some 20th century measures

RAT

(blue bread wine) _____

(birthday line surprise) ____

N=154 french children (grade 3 and 5)N=154 french children (grade 3 and 5)

TCT-DP, scored according to Urban & Jellan,gStatistical originality, judges scores

EPoCEPoC, a new battery to evaluate creative , a new battery to evaluate creative potential potential ((LubartLubart BarbotBarbot && BesançonBesançon 20112011))((LubartLubart, , BarbotBarbot & & BesançonBesançon, , 20112011))

D l d fD l d f 20002000 20102010 b db d hh•• Developed from Developed from 2000 2000 –– 20102010, based on , based on research research on on childrenchildren’’s s development of creative development of creative thinkingthinking

•• 20112011: Artistic: Artistic--graphic and Literarygraphic and Literary--Verbal domains normed on a Verbal domains normed on a FrenchFrench populationpopulationFrench French populationpopulation

•• 20132013: Versions in English, Arabic, German, : Versions in English, Arabic, German, Turkish, Slovenian, Turkish, Slovenian, Croatian, Portuguese, Chinese, PolishCroatian, Portuguese, Chinese, Polish (and other languages(and other languagesCroatian, Portuguese, Chinese, Polish Croatian, Portuguese, Chinese, Polish (and other languages (and other languages under developmentunder development))

•• 20142014: : Extension to Social, Math, Science, Music Extension to Social, Math, Science, Music & Body& Body--yyMovement DomainsMovement Domains

•• 20152015: OECD research use in : OECD research use in 10 10 countriescountries

How does EPoC work? How does EPoC work? o does oC oo does oC o•• Have the child show what they can produce when they engage Have the child show what they can produce when they engage

the creative process in a the creative process in a domaindomain--specific, meaningful taskspecific, meaningful task..•• Solicit Solicit both both divergentdivergent--exploratoryexploratory and and convergentconvergent--integrativeintegrative

thinking the t o main parts of the creati e processthinking the t o main parts of the creati e processthinking, the two main parts of the creative process.thinking, the two main parts of the creative process.•• Solicit Solicit children’s creative thinking on children’s creative thinking on two separate occasionstwo separate occasions, ,

withwith two distinct contentstwo distinct contents from the target domainfrom the target domainwith with two distinct contents two distinct contents from the target domainfrom the target domain..

Assessment Issues

P t th hild i “ ti ti it ” i l t- Put the child in a “creative activity” simulator- Each task can be decomposed into task specific, domain specific,

d l ti it tand general creativity components- Task specificity stems from the ingredients that are involved and the way these ingredients enter the creative processthe way these ingredients enter the creative process

Test AdministrationTest AdministrationIndividual2 sessions of 20 min per domain, several days apartEach session DV and CV tasksEach session, DV and CV tasks

Scoring = 10 minutes per domain assessedFluency (Divergent) + judges ratings (Integrative)

Examples of productions Divergent-exploratoryExamples of productions Divergent exploratory

Examples of productions p pConvergent - Integrative

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EPoC  in Brazil

4 judges635 elementary school children Convergent-integrative635 elementary school children, Convergent-integrative

EPoC tasksInterjudge agreement Alphas > .80

Novice judge training (n=39) vs. control novice group (n=40)C d t t (6 t t h )Compared to experts (6 art teachers)EPoC convergent integrative drawings3 rating steps n1= 14, n2= 14, n3 = 20

Some resultsNon trained judges’ alpha = 78Non trained judges alpha = .78,

trained judges= .91Correlations with experts, non-trained = .49,

trained= .79 (effect size = 1.0)Training influenced basic concepts leading to

coherent judgments

EPoC interpretation: overview• Two levels of interpretation :

EPoC interpretation: overview

•Efficiency

- Very limited

7 categories for each factor

- Limited-Weak average-Average -Strong average-Superior -Highly superior

EPoC Scoring: overviewEPoC Scoring: overview

EPoC Scoring: overviewEPoC Scoring: overview

EPoC : Construct validityEPoC : Construct validityTrou Serrure

IV

,77

,78

e1 CFA consistent with

Nbre Debuts

Personnages

,

,85

,34

e2

e3

the theoretical model

+ replication in Hong Kong

Nbre Fins

DV,62 ,72

30,29

e4

Dess Abstrait

IG

,81

,70

,30

,35

e5

χ² = 32,5; dl = 14, p < .05 ; χ² /dl = 2,3;

NFI 94 CFI 97

Nbre Dessin2

Dessin Concret

,77

,32

e6

e7

NFI = .94 ; CFI = .97 ;

AGFI = .91 ; RMR =.021 ; RMSEA = .079

30/07/16Nbre Dessin1

DG,93

e8

The structure of creative ability is similar across cultures for EPoC but shows differences for WKCT (WDV & WDF: mono > multi, China vs France) (N= 540)

Barbot, Besançon & Lubart (2016) The generality-specificity of creativity. Learning and Individual Differences

N=482 Grades 1 to 5 , french school children

EPoC DomainsEPoC Domains

Graphic Artistic: Abstract and ConcreteGraphic-Artistic: Abstract and ConcreteVerbal-literary: Titles and CharactersScience: Natural and Human sciencesSocial: Peers, Others/ Dyad, GroupSocial: Peers, Others/ Dyad, GroupMath: Numbers, Figures M sical Instr ments ObjectsMusical: Instruments, ObjectsCorporal-Kinesthetic: Individual, Collective

EPoC VerbalEPoC VerbalSession 

(form A or B)Type of task

(form A or B) 

Session 1 DE : story endingsCI : titleCI : title

Session 2 DE : story beginningsy g gCI : characters

EPoC Social

Session (form A or B)

Type of task(form A or B) 

Session 1 DE : dyad ‐ findCI : group ‐ findCI : group ‐ find

Session 2 DE : group ‐ convinceg pCI : dyad ‐ convince

EPoC Science

Session (form A or B)

Type of task(form A or B) 

Session 1 DE : naturalsciencescienceCI : natural science

Session 2 DE : humanscienceCI : human science

Musical creativityMusical creativity

Test Test EPoCEPoC of mathematical of mathematical creativity creativity (( d l d ith Jd l d ith J G é iG é i ))(co(co--developed with Jacques developed with Jacques GrégoireGrégoire) )

Figures NumbersDivergent In 10’, make as many different

assemblies of five shapes using squares and triangles

In 10’, make as many as possible calculations that result in 6 using at least 3 differentsquares and triangles in 6 using at least 3 different numbers and 2 operations in each calculation

Convergent In 10’, drag 20 shapes (squares d t l ) id

In 10’, invent a calculation that lt i 2 i ll thand rectangles) on a grid,

making a larger shape where each simple shape touches two

results in 2, using all the numbers from 1 to 9, and two operations at least once.

other shapes and with as much sides as possible

Algebra: Divergent thinkingAlgebra: Divergent thinking

Algebra: Convergent thinkingAlgebra: Convergent thinking

Figures: Divergent thinkingFigures: Divergent thinkinggu es e ge ggu es e ge g

Figures: Convergent thinkingFigures: Convergent thinkinggu es Co e ge ggu es Co e ge g

Examples of low and high responsesExamples of low and high responsesfor the “Numbers” divergent taskfor the “Numbers” divergent taskfor the Numbers divergent taskfor the Numbers divergent task

•• Sample: Hungary N=Sample: Hungary N=341341•• Sample: Hungary, N=Sample: Hungary, N=341341•• Fluency Fluency (number of calculations produced in (number of calculations produced in 1010’)’)

•• Mean:Mean: 1313 55•• Mean: Mean: 1313..55•• Standard deviation: Standard deviation: 88..77•• Minimum:Minimum: 11Minimum: Minimum: 11•• Maximum: Maximum: 5454

•• OriginalityOriginalityg yg y•• Low (High frequency): Low (High frequency): 5 5 + + 4 4 -- 1 1 = = 88

•• High (Frequency ≤ High (Frequency ≤ 11%): %): ((2 2 + + 66) x ) x 2 2 -- 8 8 = = 88

Examples of low and high responsesExamples of low and high responsesf th “Fi ” di t t kf th “Fi ” di t t kfor the “Figures” divergent taskfor the “Figures” divergent task•• Fluency (number of figures produced in 10’)Fluency (number of figures produced in 10’)•• Fluency (number of figures produced in 10 )Fluency (number of figures produced in 10 )

•• Mean: 22.8Mean: 22.8•• Standard deviation: 12 0Standard deviation: 12 0Standard deviation: 12.0Standard deviation: 12.0•• Minimum: 1Minimum: 1•• Maximum: 69Maximum: 69

•• OriginalityOriginality•• Low (High frequency):Low (High frequency):

Hi h (F 1%)Hi h (F 1%)•• High (Frequency ≤ 1%): High (Frequency ≤ 1%):

Test Test EPoCEPoC of mathematical creativity of mathematical creativity eses oCoC o a e a ca c ea yo a e a ca c ea y

•• High correlations between fluidity and originality in theHigh correlations between fluidity and originality in the divergent tasksdivergent tasks•• High correlations between fluidity and originality in the High correlations between fluidity and originality in the divergent tasks divergent tasks were expected being consistent with the creative were expected being consistent with the creative process model. process model.

•• Moderate correlations between “Numbers” and “Figures” divergent tasks Moderate correlations between “Numbers” and “Figures” divergent tasks are coherent with the definition of creativity specific to each domain. are coherent with the definition of creativity specific to each domain. Correlations Numbers

originalityFigures fluency Figures

originalityoriginality originality

Numbers fluency .89 .62 .51

Numbers originality

.56 .48

Figures fluency .82

Creativity vs. IntelligenceBi t d b i “ t” t h l- Binet and being “smart” at school

- School expertise and IQ- Studies relating IQ and creativity - 21st century competenciesy p

• critical thinking• creative thinking g• collaboration• communicationcommunication

Homo Sapiens :: Homo Creativusp

i t lli ti itintelligence :: creativity

an expert :: an inventeuran expert :: an inventeur

l ticorrelations r (IQ, creativity) = 0.10 -- 0.20,

Kim (2005): 0.174( )

r (school grades, creativity) -0.20 -- +0.10, Gadja, Karwowski & Beghetto (2017): 0.215

EPoC : Relation to IntelligenceEPoC : Relation to Intelligence

Sample : N= 79: 46 girls and 33 boys , 7 to 8 years old, in second grade p g y , y , gCriterion : WISC-4 EPoC

DG DV IG IV CompréhensionCompréhension

verbale (ICV) .14 .16 .21 .26

Raisonnement perceptif (IRP) -.24 -.07 .11 .06

4 perceptif (IRP)Mémoire de travail

(IMT) -.15 -.07 .19 .09

Vitesse de traitement - 23 13 28 10

WIS

C4

(IVT) -.23 .13 .28 .10

Quotient intellectuel total (QIT) -.14 .07 .28 .21

High Potentiel ( if d)(gifted)

high high high highintellectual potential creative potential

EPoC Scoring: overviewEPoC Scoring: overview

Developing creativityDeveloping creativityFour main approaches

‐ training activities (example: mental flexibility, openness, divergent thinking)p , g g)

‐ General school curriculum (Montessori, Freinet,…)‐ Training creativity skills (techniques for creativity)Training creativity skills (techniques for creativity)‐ Role modelling teachers behavior favoring creativity

OECD international study (2015‐2017): USA, France, Brazil, UK (Wales), Hungary, Netherlands, India, Thailand, Russia,…

Results - Creativity training study

7

5

6

4prepost

oC s

core

3

EPo

2

30/07/16Control DE Exp DE Control CI Exp CI

1

task and condition

Differential pedagogical programs p g g p g

Summary of the main points- Creative potential: a complex concept

- Creative potential requires several ingredients, that enter in the creative process

- Creative potential can be assessed, in an efficient way

- Creative potential can be developed through education f i di t l t d t i t tifocusing on divergent-exploratory, and convergent-integrative aspects

Thank you

Todd lubart@parisdescartes frTodd.lubart@parisdescartes.fr

C ti it i hildCreativity – in children

Micro « c » : idea creative for cild, serves in development

Mini « c » : production recognized creative by peers, in school

i i i i f i iPro « c » : production recognized as creative in professional domain

Big « C » : eminent creativity, recognized as creative beyond professional domain

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Elèves: Comment Favoriser la créativité

Mesurer la créativité

Prise de conscience, développement de la capacité créativepp p

Activités :

Projets valorisant la créativitéProjets valorisant la créativité

Partage des réponses, critères de jugement

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Enseignants: Favoriser la créativité

Enseigner la créativité :

techniques de pensée créativeq p

Activités permettant à développer les ressources cognitives, conatives et affectives

Organisation de l’environnement de class

Enseigner de manière créative : être un « Role ModelEnseigner de manière créative : être un « Role Model

C ti P fil ( i t ) ti filti filCreative Profiler (pour enseignants): www.creativeprofiler.comwww.creativeprofiler.com