Recent developments in computerized scoring via semantic distance have provided automated assessments of verbal creativity. Here, we extend past work, applying computational linguistic approaches to characterize salient features of creative text. We hypothesize that, in addition to semantic diversity, the degree to which a story includes perceptual details, thus transporting the reader to another time and place, would be predictive of creativity. Additionally, we explore the use of generative language models to supplement human data collection and examine the extent to which machine-generated stories can mimic human creativity. We collect 600 short stories from human participants and GPT-3, subsequently randomized and assessed on their creative quality. Results indicate that the presence of perceptual details, in conjunction with semantic diversity, is highly predictive of creativity. These results were replicated in an independent sample of stories ( = 120) generated by GPT-4. We do not observe a significant difference between human and AI-generated stories in terms of creativity ratings, and we also observe positive correlations between human and AI assessments of creativity. Implications and future directions are discussed.

Research is currently witnessing more investigations into malevolent creativity-creativity that is used to intentionally harm others. Inspired by previous methods to measure malevolent creativity, in the present study, we introduce a real-world behavioral task designed to capture individuals' capacity for using creativity for the purpose of attaining malevolent goals in response to everyday, provocative situations. In a sample of 105 students, we found malevolent creativity positively correlated with fluency in conventional creative ideation, as well as with self-reported typical malevolent creativity behavior in daily life. Moreover, performance on the malevolent creativity task showed positive correlations with the maladaptive personality trait of antagonism (PID-5) as well as individuals' state anger at the beginning of the experiment. Further, our multiple regression analysis revealed that conventional creative ideation, antagonistic personality, and state anger all explained unique, non-overlapping variance in the capacity for implementing malevolent creativity. As a whole, these findings suggest that different cognitive and affective factors, along with specific personality traits may each contribute to the expression of malevolent creativity in distinct ways. Future investigations striving to further decode the destructive potential of individuals toward others may benefit from this validated behavioral measurement approach to malevolent creativity.

The scientific approach to the study of creative problem solving has shifted from using classic insight problems (e.g., the problem), towards sets of problems that have more robust psychometric properties, such as the Remote Associate Test (RAT). Because it is homogeneous, compact, quickly solvable, and easy to score, the RAT has been used more frequently in recent creativity studies. We applied the Item Response Theory (IRT) to develop an Italian version of this task. The final 51-item test was reliable (α = .89) and provided information over a wide range of ability levels, as revealed by the IRT analysis. The RAT correlated with five measures of creative performance: The Raven's Standard Progressive Matrices (SPM), three classic insight problems, a set of anagrams purposefully developed, the fluency and flexibility scores of the Alternative Uses Task (AUT), and the Creative Achievements Questionnaire (CAQ). The new measure provided is meant to encourage the study of creativity and problem solving in the Italian language.

Harold Cohen is a renowned painter who has developed a computer program, AARON, to create art. While AARON has been hailed as one of the most creative AI programs, Cohen consistently rejects the claims of machine creativity. Questioning the possibility for AI to model human creativity, Cohen suggests in so many words that the human mind takes a different route to creativity, a route that privileges the relational, rather than the computational, dimension of cognition. This unique perspective on the tangled web of mind, machine, and creativity is explored by an application of three relational models of the mind to an analysis of Cohen's talks and writings, which are available on his website: www.aaronshome.com.

Fifty years ago, Mednick [, 69 (1962) 220] proposed an elaborate model that aimed to explain how creative ideas are generated and why creative people are more likely to have creative ideas. The model assumes that creative people have flatter associative hierarchies and as a consequence can more fluently retrieve remote associative elements, which can be combined to form creative ideas. This study aimed at revisiting Mednick's model and providing an extensive test of its hypotheses. A continuous free association task was employed and association performance was compared between groups high and low in creativity, as defined by divergent thinking ability and self-report measures. We found that associative hierarchies do not differ between low and high creative people, but creative people showed higher associative fluency and more uncommon responses. This suggests that creativity may not be related to a special organization of associative memory, but rather to a more effective way of accessing its contents. The findings add to the evidence associating creativity with highly adaptive executive functioning.

A study of the Apollo 13 mission, based on the themes showcased in the acclaimed 1995 film, reveals the grace under pressure that is the condition of optimal creativity. "Apollo 13 Creativity" is a cultural and creative problem-solving appreciation of the thinking style that made the Apollo mission succeed: creativity under severe limitations. Although creativity is often considered a "luxury good," of concern mainly for personal enrichment, the arts, and performance improvement, in life-or-death situations it is the critical pathway not only to success but to survival. In this case. the original plan for a moon landing had to be transformed within a matter of hours into a return to earth. By precluding failure as an option at the outset, both space and ground crews were forced to adopt a new perspective on their resources and options to solve for a successful landing. This now-classic problem provides a range of principles for creative practice and motivation applicable in any situation. The extreme situation makes these points dramatically.