Creativity or Conformity?

Building Cultures of Creativity in Higher Education A conference organised by the University of Wales Institute, Cardiff in collaboration with the Higher Education Academy Cardiff January 8 !" #""$

By measure: Creativity in design Brad Hokanson

University of Minnesota e-mail brad@umn.edu

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Abstract Creativity may re-uire s%ecific training to develo% within design students. at the very least, training is valuable in develo%ing creativity in early design students( Creativity is a s*ill which can be e,amined, used, and taught and one which is central to design( /his %a%er %resents the results of em%irical research from a class for design students in creative %roblem solving( /he nature of creativity and the structure of the class will be described, followed by an outline of the research methodology and the use of the verbal /orrance /est of Creative /hin*ing( Creativity, as measured through the test, significantly increased( Key ords: creativity, design education. innovation. thin*ing

By measure: Creativity in design

!ntroduction

Creativity, how we generate new ideas, is a critical s*ill in any field, and %articularly so in the design fields( It is a s*ill that can be em%loyed on small tas*s or large %ro0ects, but one which must be nurtured, develo%ed, and %racticed( /o learn a s*ill, em%hasis should be on active learning and e,tensive %ractice. the same is true of creativity( Creativity, and its %rogeny, innovation, are widely viewed as economic %anaceas for countries, com%anies, and organi1ations( 2ow %ost industrial and %ost information age, the *nowledge wor*er is being em%owered to invent and change, collaborate and create( We *now that generating new ideas is a critical s*ill in any field( 3ur educational system, however, has highly develo%ed abilities to de s*ill. facts yes, creativity never( /here are numbers of techni-ues for im%roving creativity( /here are many %ragmatic and incidental 4creative4 techni-ues that are %art of the larger field. however, creativity as a human trait cannot be summari1ed into a -uic* tric*, method, or %rocess( Creativity is a com%le, s*ill com%arable to research or writing. while there are intermediate activities, develo%ment of one5s s*ills is a long term endeavor and re-uires s%ecific attention( Creativity is a dangerous thing. it5s messy. it5s an irritation. it5s mostly uncontrollable. and it doesn5t abide by the rules( When %ro%erly done, creativity is coloring far outside the lines. it5s coloring off the %a%er, off the charts, and all over the %lace( Within education, creativity is seldom taught or cherished( Ironically, even design education is not always a source for the develo%ment of creativity( We e,%ect, wrongly, that designers become more creative as they %rogress in their learning( Within the creative fields, the to%ic of creativity is revered, but infre-uently taught outside of the traditional studio classroom( It is a%%arently assumed by design educators that wor* in the studio will develo% the learner5s creativity( /hin*ing s*ills are often not directly taught as are %ragmatic and %rocedural to%ics( In contrast, however, are other as%ects of a university education with commonly offered courses in writing, drawing, com%uter use, or research methods( /his study begins with an e,amination of definitions of creativity, differentiating creativity from 4innovation4 and 4intelligence4( /he main as%ect of creativity, i(e(, the ability to ra%idly develo% divergent and a%%licable ideas, is central to the use of the /orrance /est of Creative /hin*ing, a widely used standardi1ed e,am( /he demogra%hics of study %artici%ants, methods of creative instruction, and a %ilot test are discussed %rior to an e,amination of results( Im%lications include a recognition of the value of s%ecific instruction in creativity in the design curriculum( Creativity" innovation" and intelligence Creativity can be and has been described and defined in many ways( In general, creativity is a cognitive and generative ability( 4Creativity is the generation of new ideas either new ways of loo*ing at e,isting %roblems, or of seeing new o%%ortunities64 &Co,, #""7, 8'( 4/he creative %rocess6 refers to the se-uence of thoughts and actions that leads to novel, ada%tive %roductions4 &8ubart, #""!'( Creativity can be evident in the recogni1ed genius, such as 9eethoven or Einstein, but it is also evident in most %eo%le, and that is the focus of this study( :ost academic research in the field can be traced to ;uilford5s %residential address to the American )sychological Association in !<7", which raised the -uestion of why =then> current #

educational %ractices did not %roduce more creative %ersons &+as*o, #""!'( ?esearch on individuals through measuring s%ecific as%ects of creativity has been a concentration of most creativity research since that time, although there are a range of other research methods to investigate creativity( /hese include biogra%hical research on 4eminent creators4 and biological measurements involving brain glucose levels( &)luc*er @ ?en1ulli, !<<<' Creativity is im%ortant in many fields( 4Creativity is a to%ic of wide sco%e that is im%ortant at both the individual and societal levels for a wide range of tas* domains4 &Aternberg @ 8ubart,!<<<, B'( ?ecent %o%ular boo*s such as The World Is Flat &+riedman, #""7' and The Rise of the Creative Class &+lorida, #""C' both illustrate the broad value of creativity( Cor%orations and governments on a variety of levels fre-uently loo* to su%%ort and encourage the develo%ment of creativity, %articularly as tied to innovation, as a means to maintain or im%rove economic status( +or e,am%le, in Denmar*, 8ego concentrates its efforts on the develo%ment of new and highly innovative toys as a means to retain national economic health &2ielson, #""C'( /he United Eingdom, as e,em%lified by the Co, ?e%ort &#""7', and the government of the )eo%le5s ?e%ublic of China, actively su%%ort the develo%ment of creativity &see for e,am%le, /ischler, 8, #""F'( :ost recently, /he Economist e-uated the global search for talent, with the search for one as%ect, creativityG 4=/alent> used to mean innate ability, but in modern business it has become a synonym for brain%ower &both natural and trained' and es%ecially the ability to thin* creatively(4 &3ctober $, #""F, !!'( Innovation, which is similar to creativity, deals with the novel or new, but is more concerned with the ado%tion and acce%tance of new or different ideas( Co, &#""7' holds that 4Innovation is the successful e,%loitation of new ideas( It is the %rocess that carries them through to new %roducts, new services, new ways of running the business or even new ways of doing business4 &8'( Innovation is concerned with societal change or acce%tance &?odgers, !<<!', whereas creativity can be described as the individual s%ar*s that %recede innovation( Creativity is also distinct from intelligence, to which it is often com%ared( Intelligence, raw cognitive ability, is the ability to remember and *now, the ability to recall and use ideas from learning and e,%erience( While there is some connection between remembering information and new ideas, they are inde%endent as%ects of cognition &?unco, !<<7'( Aome research considers creativity an as%ect of an inclusive definition of intelligenceG smart %eo%le are more creative( However, most in the field se%arate creativity from intelligence and recogni1e that retained *nowledge, i(e( intelligence, does not fully correlate with creativity( :any studies recogni1e creativity as a cognitive ability se%arate from other mental functions and %articularly inde%endent from the com%le, of abilities grou%ed under the word 5intelligence5( Although intelligence the ability to deal with or %rocess large amounts of data favors creative %otential, it is not synonymous with creativity &)reti @ :iotto, !<<$, #'( #eaching creativity Efforts to increase creativity are wides%read in education and common in industry &Acott, et al( #""C'( /here is a wide range of methods within B

educational conte,ts to increase creativity, including cognitive, %ersonal, motivational, and social interactive a%%roaches &9ull, et( al, !<<7'( Addressing different ty%es of learners and different socialHcognitive %references of learners may also encourage the use of varied methods within the structure of a single class( Acott, et( al( &#""C' re%orted encouraging and develo%ing 4divergent thin*ing4 was a consistent element in most efforts to increase creativity( Divergent thin*ing can be described as the develo%ment of multi%le answers to stimuli, the ca%acity to thin* beyond one single answer to a -uestion or %roblem( In a meta analysis involving $" studies of evaluating creativity training, Acott, et( al( &#""C' observed a number of differentiating factors in creativity training( /ime on tas* and e,tensive wor* were generally needed to develo% s*ills in creativity( Courses that stress structured techni-ues, such as formal brainstorming, were more effective than courses that used unconstrained e,%loration or creative e,%ression as a means to develo% creative s*ill( /he largest gains in measured creativity occurred through structured techni-ues such as critical thin*ing, convergent thin*ing, and constraint identification( #he research venue /his research focuses on an intact course on creative %roblem solving &C)A'( /he sub0ect course is a blend of theoretical instruction, %ractical a%%lication, and ra%id idea generation, and is taught by the author( /he nature of the course is consistent with recommendations inherent in +as*o &#""!', and the findings in Acott, et al( &#""C'( /he class was structured around organi1ation, idea generation, collaborative activity, student directed learning, and a%%lication of ideas( /here were four %rinci%le as%ects to the courseG re%eated %ractice at ra%idly generating multi%le and numerous ideas. coursewor* &lectures, readings, e,ercises' on methods and theories of creativity. wee*ly student directed %ersonal activities grounded in the learner5s environment, &i(e( each student %ublicly engaged in unorthodo, creative behavior on a regular basis'. and a series of collaborative activities( While s%ecific activities vary year to year, the basic structure of the course has remained consistent( Anecdotal evidence from students com%leting the course indicated a strong develo%ment of creative abilities, and a standard evaluation method was sought to better understand their develo%ment of creative s*ill( $easuring creativity: #he #orrance #ests of Creative #hinking and other methods As there is a wide range of definitions of creativity, and evidence of creativity is e,tremely varied, there also is a broad range of methods to evaluate and study creativity( )luc*er @ ?en1ulli &#""#' note a variety of current research directions, but note that a ma0ority of research on creativity is based on %sychometric methods, the 4direct measurement of creativity andHor its %erceived correlates in individuals4 &B7'( 9oth ;uilford and /orrance viewed idea diversification as central to creativity, and e,amined it %rinci%ally through %sychometric methods( As noted earlier, creativity can be recogni1ed as the ability to generate a wide number of ideas addressing a given %roblem or stimulus. it im%lies the ability to develo% different C

ty%es of ideas for any given instance. and also the ability to generate une,%ected ideas( /hese three areas are the main as%ects of standardi1ed tests of creativity develo%ed by Dr( )aul /orrance, and are categori1ed as fluency, originality, and fle,ibility( His standardi1ed tests, the /orrance /ests of Creative /hin*ing &//C/' are the most widely used standardi1ed test of creativityG 46 by far the most commonly used test of divergent thin*ing and =which> continues to en0oy wides%read international use4 &)luc*er @ ?en1ulli, !<<<, B<'( Data based on the wide a%%lication of the test is substantial and can be used to com%are results with other broader %o%ulations( /he /orrance /est does have its limitations( It measures only one as%ect of creativity &divergent thin*ing' over a brief %eriod of time( While substantial longitudinal studies by /orrance have been su%%ortive of the validity of the test, but high scores on the tests do not guarantee a %erson behaving creatively &/orrance, !<$C'( 4According to /orrance, creative motivation and s*ills as well as creative abilities are necessary for adult creative achievement to occur4 &Eim, #""F, B'( /his testing method is but one measure within a broad s%ectrum, but it does %rovide insight into certain as%ects of creative abilities( It measures one as%ect of creativity as it a%%ears in the general %o%ulation( )ragmatically, it is moderately easy and -uic* to administer, and tests can be scored by the researcher or the test %ublisher( Elements of the #orrance #ests of Creative #hinking /he /orrance /ests of Creative /hin*ing &//C/' are available in written and visual form. the written form was used in this study( /he written version has si, sections that as* for written res%onses to illustrations and verbal %rom%ts( Each section is timed, and res%onses are recorded for five minutes. one section of the test lasts for ten minutes( /he written test have two versions, and is designed to be used before and after treatment( /he versions have been designed to be com%arable to each other and can be administered in any order, or singly( Creative %eo%le are e,%ected to develo% a large number of new ideas( %luency, the first metric, is the ability to develo% a large number of relevant res%onses to a given stimulus. i(e( how many different ideas can a %artici%ant develo% that address the -uestion at handI /he tests %ose a series of hy%othetical -uestions and %artici%ants are evaluated in %art by volume of res%onse( +or e,am%le, one could be as*ed to eat something different and %ossibilities such as a%%les, %i11a, hot dogs, and cheese would be e,%ected( Each of these answers would count as a%%licable to the -uestion( %le&ibility measures the ability to develo% a wide range of answers that differ from each other( Creativity is seen to encourage answers that go beyond slight differences and to develo% answers that are different from those %reviously develo%ed( Creative %eo%le, as demonstrated by their fle,ibility, develo% different ty%es of answers( +or e,am%le, when as*ed what they could eat, %artici%ants could res%ond with answers such as food of a different culture or something not normally considered as food but still edible, such as leaves from a tree( /hese answers are categorically different from each other( 'riginality evaluates the %artici%ants5 answers against a list of common res%onses to the same %roblem( Creativity is often understood to %rovide answers that are outside common societal e,%erience( +or e,am%le, to eat something different would also include eating one5s own words or foot( /he answers are une,%ected res%onses and often described as novel or new( 7

$ethods: #he pilot test A %ilot test was com%leted in +all of #""C using the verbal /orrance /est of Creative /hin*ing with one section of the creative %roblem solving course( Aeventeen first year students %artici%ated in the testing as %art of their regular class wor*. all too* the test in the first and last wee* of class( Ai,teen members of the class were women. si, of the students had earned sufficient credits through advanced %lacement or %revious college e,%erience to be considered second term students( All were in the college honors %rogram( ?esults were inde%endently scored by Acholastic /esting Aervice, the %ublisher of the test( Creativity was found to have increased across all three metrics( A %aired t test was %erformed for each metric and all changes were found to be statistically significant &test J("7'( +luency, the generation of ideas, increased by a mean of BC(7K( +le,ibility, the diversity of one5s ideas, increased by ##(8K, and 3riginality, the generation of une,%ected ideas, increased by BC("K( Aee /ables ! B for additional information( &+or administrative reasons the tests of two students were not scored(' ;iven strong results from the first iteration of the test, it was hy%othesi1ed that some of the increase in creativity was due to the new e,%eriences of first year college students, or due to the studio e,%eriences of entering design students( A -uasi e,%eriment was designed to e,amine the class as com%ared to the larger %o%ulation of first year design students( #he (tudy /he /orrance /est was again administered to the creative %roblem solving class the following year with some differences in administration( /he test was not administered within the C)A class, but rather within the conte,t of a larger class( 2ine students from creative %roblem solving class were enrolled in an introduction to design lecture class. the other members of the large lecture class were also tested and would serve as a control grou% for the research( /he large lecture course is re-uired of all entering design students at the university and consists of a series of lectures, %resentations, and readings about design( /he class included students from clothing design, interior design, and gra%hic design( All design students in the course also ta*e at least one other studio class from a common design curriculum that includes basic drawing and an introduction to color( All students also ta*e an introductory studio class in their disci%line( /he course is o%en to the rest of the university %o%ulation( /here were <7 students who too* both versions of the //C/( /o %rovide a more accurate evaluation of the effects of treatment, only freshmenHfirst year students were scored as %art of this study( Acored were C$ first year students and !B first year students with sufficient credits to be classified as 4second term4 &meaning they had earned, through means such as advanced %lacement, a modest amount of college credit'( 7B %artici%ants were female, $ male( Within this grou%, nine of these students were also registered for the creative %roblem solving class and were evaluated as the 4treatment4 grou%. si, were freshmen, and three had sufficient credits to be considered 4second term4( All were women, and all were in F

the college honors %rogram( All were design students &i(e( %ursuing a four year course of study in gra%hic, interior, or clothing design'( Eight students were white, one was blac*, all had what could be described as middle class bac*grounds( Acholastic /esting Aervices is the current %ublisher of the /orrance /ests( /he tests can be scored by the researcher or by Acholastic /esting Aervices( All tests were scored by Acholastic /esting Aervices to %rovide a consistency of scoring results( )esults /he members of the creative %roblem solving class e,%erienced significant gains in measured as%ects of creativity in all areas tested( /he larger control grou% e,%erienced slight gains in two measures, but neither was statistically significant( /he gains for 3riginality for the control grou% were significant( %luency All members of the treatment grou% &those enrolled in the creative %roblem solving class' e,%erienced increases in measured fluency, with an average raw score change of BC(CK( /hese changes were significant at "("7( Aee /able !( /he fluency score for students in the control grou% increased by #(7K over the course of the term, but this change was not significant( ?esults from the testing were com%ared with a meta analysis of creativity training %rograms as %ublished by Acott et al( &#""C'( In that study, $" results of creativity training and testing were evaluated, and the effect si1e was calculated by ;lass5 Delta method( /he ;lass Delta was calculated for each area of the /orrance /est( Acott et al( &#""C' lists a mean effect si1e of ($" for all combined instruction methodologies and a mean of ($7 for divergent thin*ing methods, with a standard deviation of (F$( /he effect si1e for this class was calculated at !("F for +luidity, which is higher than but com%arable to the mean( It is a%%ro,imately (C#AD above the mean, well within an e,%ected distribution of results( %le&ibility In both tested classes, scores on fle,ibility &the measure of divergent res%onses to -uestions' were found to be significantly im%roved( /he mean of the combined grou%s increased by ##(8K. the #""7 grou% increased by B7(BK( /he increase was significant &at "("7' for each grou% and for the combined C)A grou%s( In contrast, the control grou% score for fle,ibility increased by #(<K, but the change was not significant( Aee /able # for further information( 'riginality /he #""7 grou% e,%erienced a 77(#K increase in the measure of originality &the generation of ideas that are new and uncommon in society at large' a strong and significant increase in this area( /he control grou% increased by !F(BK, and this was statistically significant( Aee /able B for further information( ;lass5s Delta as calculated for 3riginality for the treatment grou% was !(#!. for the $

control grou% it was (#F#( /his a%%ears to indicate that about #7K of the increase in 3riginality was due to the common activities of the larger class( /he treatment grou% was com%ared to the control grou% for both versions of the test( While there was no significant difference %rior to treatment, there was a significant difference after treatment, in s%ite of significant gains by the control grou%( 9oth sections of creative %roblem solving &#""C and #""7' were also com%ared with each other( In all si, values, i(e( fluency, fle,ibility, and originality measured before and after the class, the two sections were not statistically different than each other( *iscussion Clearly, creativity can be taught, or at least the ability to diversify thin*ing can be develo%ed in students. the findings of this study are consistent with a number of studies &see Acott, et( al(, #""C' both in terms of scale and details( /he findings su%%ort the idea that creativity is a trait that can be develo%ed through s%ecific course wor*( ?esults from both the %ilot and the control grou% indicate substantial gains in measured as%ects of creativity( /he nature of the course, with a range of teaching methods and a long term a%%roach to develo%ing creativity, a%%ears to encourage the develo%ment of creativity beyond that e,%ected in a standard course( Creativity is, of course, conte,t bound, and the investigation of creativity as such must understand the full environment surrounding the teaching of creativity( /he academic standing of those in the creative %roblem solving course &as all were honors students', other classes &all too* design courses' and new college environment of the students could have affected their develo%ment of creativity( ;iven that findings did not indicate a gain in most measures of creativity among members of the control grou%, design classes and the novelty of the college e,%erience do not a%%ear to encourage the develo%ment of creativity( /he lac* of significant im%rovement com%ared to strong gains for the control grou% indicates a value to s%ecific instruction in creativity( /he control grou% did show significant im%rovement for the 3riginality metric, des%ite insignificant changes in +luidity and +le,ibility scores( /his may mean that while the %artici%ants did not have a greater number of new ideas, the ideas that they did have were more divergent as com%ared to society as a whole( In other words, while the students didn5t have more new ideas, but those they had were more diverse after their initial college and design e,%erience( Conclusion /his study involved research through the /orrance /est of Creative /hin*ing verbal version( It involved design students at an American university in their first year of a four year %rogram of study( Within a large lecture course, an embedded control grou% of students was involved in an additional class that focused on the training of creative abilities( Aignificant and %ositive differences were found between the treatment and the control grou%s( /he study found that teaching creativity in a se%arate course is effective in develo%ing measured creativity in design students( It also found that design students in a 8

com%arable conte,t did not inde%endently develo% their creative s*ills to the same degree, and in fact, often did not change their level of creative behavior( It would a%%ear that even within a design curriculum, se%arate courses are necessary for full develo%ment of creative s*ills( E,tending the observation of design students to learners in other fields is s%eculative but may be valuable( Atudents in the design fields are e,%ected to be creative, but this research indicates that only s%ecific attention to the develo%ment of creativity can %roduce changes in the level of divergent thin*ing( 8ogically, learners in other fields should not be e,%ected to develo% high levels of creative s*ill. this may be why e,tensive training o%%ortunities for creativity are common in non design fields of study &Acott, et al, #""B'( )eferences 9ull, E( A(, :ontgomery, D(, @ 9aloche, 8( &!<<7'( /eaching creativity at the college levelG A synthesis of curricular com%onents %erceived as im%ortant by instructors( Creativity Resear h !ournal" #" 8BL<"( Co,, ;( &#""7'( Co, review of creativity in business, retrieved online "#(#F("F from htt%GHHwww(hm treasury(gov(u*Hco& /he Economist( &#""F, 3ctober $'( /he Aearch for /alent( The $ onomist, B8!, !!( +as*o, D( &#""!'( Education and creativity( Creativity Resear h !ournal, Mol( !B, 2os( B @ C, B!$LB#$( +lorida, ?( &#""C'( The Rise of the Creative Class% &nd 'o( It)s Transformin* Wor+" ,eisure" Community and $veryday ,ife( 2ew Nor*G 9asic 9oo*s( +riedman, /( &#""C'( The (orld is flat% & brief history of the t(enty-first entury( 2ew Nor*G +arrar, Atraus and ;irou,( Eim, E(H( &#""F'( Can we trust creativity testsI A review of the /orrance /ests of Creative /hin*ing, Creativity Resear h !ournal( Creativity Resear h !ournal, Mol( !8, 2o( !, BF!LB88( 8ubart, /(I( &#""!'( :odels of the Creative )rocessG )ast, )resent and +uture Creativity ?esearch Journal, Mol( !B, 2os( B @ C, #<7LB"8( 2ielson, A(E( &#""C'( Director of Communications, 8ego Cor%oration, %ersonal communication B(!F("C( )luc*er, J( @ ?en1ulli, J( &!<<<'( )sychometric a%%roaches to the study of human creativity, in Aternberg, ?( 'andboo+ of Creativity, CambridgeG Cambridge University )ress( )reti, A( @ :iotto, )( &!<<$'( /he Contribution of )sychiatry to the Atudy of CreativityG Im%lications for AI research( In Meale, /( Eds( -ro eedin*s Mind II, Dublin, Ireland( ?ogers, E( &!<<7'( .iffusion of innovations, 2ew Nor*G /he +ree )ress( <

?unco, :(, @ Chand, I( &!<<7'( Cognition and creativity, $du ational /sy holo*y revie( $=B>, #CB #F$( Acott, ;(, 8erit1, 8( @ :umford, :( &#""C'( /he Effectiveness of Creativity /rainingG A Ouantitative ?eview( Creativity Resear h !ournal, Mol( !F, 2o( C, BF!LB88( Aternberg, ?(J( &#""F'( /he nature of creativity, Creativity Resear h !ournal, Mol( !8, 2o( B, B !C( Aternberg, ?(J( @ 8ubart, /( I(&!<<<' /he conce%t of creativityG )ros%ects and %aradigms( in Aternberg, ?(J(, Ed( &!<<<'( 'andboo+ of reativity( CambridgeG Cambridge )ress( /ischler, 8( &#""F'( /he ;ucci Eillers, Fast Com/any JanuaryH+ebruary, C# C8( /orrance, E( )( &!<$#'( Can we teach children to thin* creativelyI !ournal of Creative 0ehavior" 1" !!CL!CB( /orrance, E( )( &!<$C'( /he /orrance /ests of Creative /hin*ing 2orms /echnical :anual research Edition Merbal /ests, +orms A and 9( )rincetonG )ersonnel )ress( /orrance, E( )( &!<<"'( /orrance /ests of Creative /hin*ing, Merbal Edition" 9ensonvilleG Acholastic /esting Aervice, Inc(

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#able +: %luency scores and comparisons, effect si-e

.roup )ilot #""C C)A =n P !7> =AD> /reatment #""7 =n P <> =AD> Control #""7 =n P 7!> =AD> %luency )( / A mean 123+4 =!<(#C> 283<5 =#F(8!> 1138: =#$("8> %luency )( / B mean ++5367 =#"($#> +67388 =BB($B> 2:37< =BB("C> +:63879 :382 +4838+9 :3:::85; *ifference +483769 t0test A:B :3:::::45;

/reatment v( "(C# :3::6:; Control t test ;lass5 Delta +3:7< /reatment ;lass5 Delta :3:<7 Control )( = ra score3 (* = standard deviation3 ; = significant at 3:7

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#able 6: %re>uency scores and comparisons, effect si-e

.roup %luency )( / A mean 7:328 =F(<7> 81344 =!"(8C> 8238: =!!(!F> %luency )( / B mean 71388 =<("#> <4312 =!"(#<> 7:318 =!#($$> *ifference t0test A:B :3::42;

)ilot #""C C)A =n P !7> =AD> /reatment #""7 =n P <> =AD> Control #""7 =n P 7!> =AD>

+483769

+473659

:3::::54;

+:63269

:34<

/reatment v( "(F! :3::+4; Control t test ;lass5 Delta +3:66 ;lass5 Delta :3:7< )( = ra score3 (* = standard deviation3 ; = significant at 3:7

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#able 4: 'riginality scores and comparisons, effect si-e

.roup )ilot #""C C)A =n P !7> =AD> /reatment #""7 =n P <> =AD> Control #""7 =n P 7!> =AD> /reatment v( Control t test 'riginality )( / A mean <13+4 =!F($C> <<3:: =#B(C!> 723+2 =##($B> "(8" 'riginality )( / B mean 1:3<4 =#"(C!> 2137< =B!(8$> <<3+< =#F(F"> :3::6:; ++<3479 :3:+5; +7736:9 :3:::76; *ifference +663+79 t0test A:B :3:++;

+36+1 ;lass5 Delta :36<6 )( = ra score3 (* = standard deviation3 ; = significant at 3:7

!B