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The Order Matters: Asking about Creative Activity Calibrates Creative Self-Concept

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Title: The Order Matters: Asking about Creative Activity Calibrates Creative Self-Concept
Language: English
Authors: Czerwonka, Marta, Karwowski, Maciej (ORCID 0000-0001-6974-1673)
Source: Creativity Research Journal. 2018 30(2):179-186.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 8
Publication Date: 2018
Document Type: Journal Articles
Reports - Research
Descriptors: Creativity, Self Evaluation (Individuals), Self Concept, Sequential Approach, Foreign Countries, Interviews, Creative Activities, Likert Scales, Measures (Individuals), Multivariate Analysis, Adults, Hypothesis Testing, Statistical Analysis
Geographic Terms: Poland
DOI: 10.1080/10400419.2018.1446499
ISSN: 1040-0419
Abstract: People tend to perceive and assess their own creativity in a positive, yet not always accurate, way. This study explores whether differences in self-ratings of the creative self-concept (creative self-efficacy and creative personal identity) are related to the sequence in which self-report measures are applied: the order effect. A randomly chosen half of a representative sample of Poles, contacted via a telephone interview, answered the items related to their creative self-concept first, followed by the items related to their previous creative activity. Another half of the sample completed these measures in a reversed order: The creative activity scale was completed first and then creative self-concept items were asked. The results demonstrated that people who were first asked about their previous creative activities reported a lower level of creative self-efficacy and creative personal identity than those asked about their creative self-concept first. Further analyses demonstrated that creative activity moderated this pattern: Participants without previous creative activity and those who engaged solely in everyday creative activities in the past, were susceptible to the order effect, but this effect was not observed among the participants with previous experience in art or science.
Abstractor: As Provided
Number of References: 63
Entry Date: 2018
Accession Number: EJ1176723
Database: ERIC
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  Value: <anid>AN0129233983;7lo01apr.18;2018Apr24.10:13;v2.2.500</anid> <title id="AN0129233983-1">The Order Matters: Asking About Creative Activity Calibrates Creative Self-Concept </title> <p>People tend to perceive and assess their own creativity in a positive, yet not always accurate, way. This study explores whether differences in self-ratings of the creative self-concept (creative self-efficacy and creative personal identity) are related to the sequence in which self-report measures are applied: the order effect. A randomly chosen half of a representative sample of Poles, contacted via a telephone interview, answered the items related to their creative self-concept first, followed by the items related to their previous creative activity. Another half of the sample completed these measures in a reversed order: The creative activity scale was completed first and then creative self-concept items were asked. The results demonstrated that people who were first asked about their previous creative activities reported a lower level of creative self-efficacy and creative personal identity than those asked about their creative self-concept first. Further analyses demonstrated that creative activity moderated this pattern: Participants without previous creative activity and those who engaged solely in everyday creative activities in the past, were susceptible to the order effect, but this effect was not observed among the participants with previous experience in art or science.</p> <p>After decades of investigating the cognitive (e.g., Dodds, Smith, & Ward, [<reflink idref="bib13" id="ref1">13</reflink>] ; Finke, Ward, & Smith, [<reflink idref="bib17" id="ref2">17</reflink>] ; Mumford, Mobley, Reiter‐Palmon, Uhlman, & Doares, [<reflink idref="bib39" id="ref3">39</reflink>] ; Reiter-Palmon & Arreola, [<reflink idref="bib50" id="ref4">50</reflink>] ) and personality (e.g., Feist, [<reflink idref="bib16" id="ref5">16</reflink>] ; Furnham, [<reflink idref="bib18" id="ref6">18</reflink>] ) side of creativity—understood as a capacity to produce ideas and products that are both novel and useful or appropriate (Runco & Jaeger, [<reflink idref="bib52" id="ref7">52</reflink>] )—researchers are becoming increasingly interested in antecedents and consequences of creativity-related beliefs (e.g., Farmer & Tierney, [<reflink idref="bib15" id="ref8">15</reflink>] ; Karwowski, [<reflink idref="bib27" id="ref9">27</reflink>] ; Puente-Diaz & Cavazos-Arroyo, [<reflink idref="bib46" id="ref10">46</reflink>] , [<reflink idref="bib47" id="ref11">47</reflink>] ). This broad category includes such interrelated yet distinct constructs as creative self-efficacy (CSE; conviction that one is able to creatively perform a certain task, e.g., Beghetto, [<reflink idref="bib4" id="ref12">4</reflink>] ), creative personal identity (CPI; the importance of creativity in overall self-description, e.g., Jaussi, Randel, & Dionne, [<reflink idref="bib24" id="ref13">24</reflink>] ; Plucker & Makel, [<reflink idref="bib43" id="ref14">43</reflink>] ), creative mindsets (perceiving creativity as changeable or not, e.g., Karwowski, [<reflink idref="bib25" id="ref15">25</reflink>] ), or creative metacognition (ability to effectively evaluate one’s own skills and awareness in what situations creative skills are especially useful, e.g., Kaufman & Beghetto, [<reflink idref="bib35" id="ref16">35</reflink>] )</p> <p>Different creative self-beliefs are considered important primarily because of the motivational and regulatory functions they fulfill (Karwowski & Barbot, [<reflink idref="bib28" id="ref17">28</reflink>] ). Indeed, people who believe in their own creativity put more effort into creative tasks and more effectively solve problems that require creative thinking (e.g., Choi, [<reflink idref="bib8" id="ref18">8</reflink>] ; Pretz & McCollum, [<reflink idref="bib44" id="ref19">44</reflink>] ; Pretz & Nelson, [<reflink idref="bib45" id="ref20">45</reflink>] ). Importantly, unlike the relatively stable personality traits (Asendorpf & van Aken, [<reflink idref="bib1" id="ref21">1</reflink>] ; DeYoung, [<reflink idref="bib10" id="ref22">10</reflink>] ), creative self-beliefs seem to be malleable (Karwowski & Lebuda, [<reflink idref="bib31" id="ref23">31</reflink>] ). Previous studies demonstrated that characteristics such as CSE are influenced by training (Mathisen & Bronnick, [<reflink idref="bib37" id="ref24">37</reflink>] ), but also by the behavior of parents (Gute, Gute, Nakamura, & Csikszentmihályi, [<reflink idref="bib19" id="ref25">19</reflink>] ; Rathunde, [<reflink idref="bib49" id="ref26">49</reflink>] ) or teachers (Karwowski, Gralewski, & Szumski, [<reflink idref="bib30" id="ref27">30</reflink>] ), and peers (Karwowski, [<reflink idref="bib26" id="ref28">26</reflink>] ). But yet, is it possible that the way researchers measure creative self-beliefs might be responsible for the differences observed across various investigations? This article focuses on this very question.</p> <p>It was continuously demonstrated that people, in general, hold a positive creative self-concept (e.g., Kaufman et al., [<reflink idref="bib58" id="ref29">58</reflink>] -2010; Tierney & Farmer, [<reflink idref="bib61" id="ref30">61</reflink>] ) and that distribution of CSE and related constructs is skewed, with most people obtaining high scores (Silvia, Kaufman, & Pretz, [<reflink idref="bib58" id="ref31">58</reflink>] ). Thus, children or adults answering such items as “I am sure I can deal with problems requiring creative thinking” report a strong conviction of being capable to deal with situations that demand creativity and often overestimate their self-ratings, as compared with results obtained in more objective measures (e.g., Runco & Dow, [<reflink idref="bib51" id="ref32">51</reflink>] ). People assessing their creative self-beliefs are commonly asked to complete one or more self-report scales. Although usually these scales are presented in a counter-balanced order to reduce the risk of potential bias, the influence of the order effect of the instruments’ presentation on obtained scores was not previously tested in creativity literature. This article aims at filling this gap.</p> <hd id="AN0129233983-2">THE ORDER EFFECT</hd> <p>The order effect refers to a phenomenon demonstrating that questions presented in a certain order influence individual responses in a systematic manner (e.g., Schuman, Presser, & Ludwig, [<reflink idref="bib54" id="ref33">54</reflink>] ; Tourangeau, Rips, & Rasinski, [<reflink idref="bib62" id="ref34">62</reflink>] ). Previous studies tested this effect in relation to satisfaction judgments (e.g., Schwarz, [<reflink idref="bib55" id="ref35">55</reflink>] ; Strack, [<reflink idref="bib59" id="ref36">59</reflink>] ) and demonstrated that the order of questions and their general versus specific content influence the answers obtained. Strack, Martin, and Schwarz ([<reflink idref="bib60" id="ref37">60</reflink>] ) demonstrated that when people first reported their dating satisfaction—i.e., when they referred to a relatively specific aspect—and then rated overall life satisfaction—the ratings were substantially related (r = .55), but no significant correlation was observed in the reversed condition (r = .16). These results have been interpreted in terms of cognitive-accessibility explanation for item order effect (see Schwarz, [<reflink idref="bib56" id="ref38">56</reflink>] ; Strack, [<reflink idref="bib59" id="ref39">59</reflink>] ): When individuals assess their life satisfaction in a survey with other questions, they may emerge as “subject to pronounced question order-effects because the content of preceding questions influences the temporary accessibility of relevant information” (Schwarz & Strack, [<reflink idref="bib57" id="ref40">57</reflink>] , p. 79). A small-to-moderate range effect size (d = 0.29) was found in a meta-analysis (Schimmack & Oishi, [<reflink idref="bib53" id="ref41">53</reflink>] ) that synthesized eight relevant articles reporting 16 item-order comparisons and including studies that manipulated accessibility by changing the order of specific and global items.</p> <p>How can results from studies on the order effect apply to investigating the nature of creative self-beliefs? There are reasons to believe that when specific questions and items (e.g., about domain-specific creative activity or achievement) are asked first, it might result in lower reported CSE or CPI, as thinking about concrete creative activities and behaviors is being activated, which allows one to calibrate the creative self-concept. This effect, however, may be moderated by participants’ previous experiences and expertise (see e.g., Pretz & McCollum, [<reflink idref="bib44" id="ref42">44</reflink>] ). As individuals who are more experienced in creative activity are usually also more aware of their potential and are generally more accurate when self-evaluating themselves (e.g., Kaufman & Beghetto, [<reflink idref="bib35" id="ref43">35</reflink>] ), there are reasons to believe that the order effect will play a less prominent role in their case.</p> <hd id="AN0129233983-3">THIS STUDY</hd> <p>This study focused on two hypotheses:</p> <p>People first asked about their previous creative activities report a lower creative self-concept than when self-concept questions are asked first.</p> <p>The order effect plays a more prominent role among the individuals who report lack of creative activities or whose creative activity is related to more mundane, everyday behaviors (e.g., cooking or creating a new decoration).</p> <hd id="AN0129233983-4">METHOD</hd> <hd id="AN0129233983-5">Participants and Procedure</hd> <p>Participants included 1,001 Poles (525 women) aged 18-87 (M = 45.14, SD = 16.57) who formed a representative sample of Polish adults (18+). The participants held a university degree (18.7%) or high-school diploma (34.3%), with others having basic (24.6%) or vocational education (22.4%). The sample was stratified to control for the main demographic characteristics and then weighted analytically to correct for potential biases. The participants were contacted by phone and after providing consent, in a counter-balanced order, they were presented with the two self-report measures. Half of them answered the items related to creative self-concept first (n = 517); the other half gave answers to items related to creative activity first (n = 484).</p> <hd id="AN0129233983-6">Measures</hd> <hd id="AN0129233983-7">Creative self-concept</hd> <p>An 11-item Short Scale of Creative Self (Karwowski, Lebuda, Wisniewska, & Gralewski, [<reflink idref="bib32" id="ref44">32</reflink>] ) was used to assess participants’ creative personal identity (five items; sample items included “My creativity is important to who I am” and “Being a creative person is important to me”) and creative self-efficacy (six items; sample items included “I trust my creative abilities” and “Compared to my friends, I am distinguished by my imagination and ingenuity”). Each participant responded using a 5-point Likert scale (1 = definitely not to 5 = definitely yes). Cronbach’s alphas for both scales were good: CPI, α = .74 and tCSE,[<reflink idref="bib1" id="ref45">1</reflink>] α = .82.</p> <p>1 In accordance with the recommendations offered by Beghetto and Karwowski (2017), the tCSE notation was used to signal the readers that CSE was measured with more static, global, and traditional Likert-type items.</p> <hd id="AN0129233983-8">Creative activity</hd> <p>A modified version of the Inventory of Creative Activities and Achievements (ICAA; Diedrich, Jauk, Silvia, Gredlein, Neubauer, & Benedek, [<reflink idref="bib11" id="ref46">11</reflink>] ); Jauk, Benedek, & Neubauer, [<reflink idref="bib23" id="ref47">23</reflink>] ) was used to measure creative activity. Thirty-three items were used to capture creative activities in different domains, such as web development/programming, everyday creativity, music and dance, science, art, and writing. Participants reported whether they engaged in each activity (coded 1) or did not engage in described activity (coded 0) within the last year. Sample activities included “Wrote a short literary work (e.g., poem, short story),” “made a gift,” or “reinterpreted a piece of music in a creative way.” The overall index of creative activity was calculated as the average of all dichotomous items (min = 0, max = .64, M = .16, SD = .14). Reliability for the overall score was good: α = .84. The ICAA is a self-report scale, similar to such other activity scales present in creativity literature as the Creative Behavior Inventory (Dollinger, [<reflink idref="bib14" id="ref48">14</reflink>] ; Hocevar, [<reflink idref="bib22" id="ref49">22</reflink>] ), the Biographical Inventory of Creative Behaviors (Batey, [<reflink idref="bib2" id="ref50">2</reflink>] ), or the Creative Activities and Accomplishment Checklist (Okuda, Runco, & Berger, [<reflink idref="bib41" id="ref51">41</reflink>] ), designed to assess creative achievements (for a more systematic review see: Batey & Hughes, [<reflink idref="bib3" id="ref52">3</reflink>] ).</p> <hd id="AN0129233983-9">RESULTS</hd> <p>Descriptive statistics and correlations between variables are presented in Table 1. To ensure that manipulation with the order was, indeed, random, basic demographics between conditions were compared. Consistently with our expectations, there were no differences in average age, F(<reflink idref="bib1" id="ref53">1</reflink>, 1000) = 0.15, p = .70 and participants were distributed between conditions randomly in terms of gender, χ<sups>2</sups>(df = 1, N = 1001) = 0.072, p = .80, and education level, χ<sups>2</sups>(df = 3, N = 1001) = 4.59, p = .20.</p> <p>Descriptive statistics and correlations between the study’s variables</p> <p> <ephtml> <table border="1" cellpadding="6"><tr><td>Variables</td><td align="center">M</td><td align="center">SD</td><td align="center">2</td><td align="center">3</td><td align="center">4</td></tr><tr><td>1: Creative self-concept (CSC)<sup>a</sup></td><td>3.71</td><td>0.73</td><td>.93</td><td>.93</td><td>.41</td></tr><tr><td>2: Creative self-efficacy (tCSE)</td><td>3.73</td><td>0.77</td><td>1</td><td>.73</td><td>.40</td></tr><tr><td>3: Creative personal identity (CPI)</td><td>3.68</td><td>0.80</td><td /><td>1</td><td>.37</td></tr><tr><td>4: Creative activity<sup>b</sup></td><td>.16</td><td>.14</td><td /><td /><td>1</td></tr></table> </ephtml> </p> <p>Note. N = 1,001. a = composite, average of tCSE and CPI scores, b = average of 33 ICAA items scored 0-1.</p> <p>All correlations are statistically significant at p < .001</p> <hd id="AN0129233983-10">Testing the Order Effect</hd> <p>In the next step, the hypothesized order effect was examined using MANOVA with CSE, CPI, and the composite CSC as dependent variables and the order as the between-person factor. Consistently with H1, when first asked about creative activities, participants declared a significantly lower CSE: F(<reflink idref="bib1" id="ref54">1</reflink>, 975) = 28.63, p < .001, η<sups>2</sups> = .03 (Cohen’s d = 0.33), CPI: F(<reflink idref="bib1" id="ref55">1</reflink>, 975) = 44.09, p < .001, η<sups>2</sups> = .043 (Cohen’s d = 0.42) and the composite CSC score: F(<reflink idref="bib1" id="ref56">1</reflink>, 975) = 41.87, p < .001, η<sups>2</sups> = .04 (Cohen’s d = 0.42) (see Figure 1).</p> <p>The order effect was much less prominent in the case of self-reported creative activity. Participants who first reported their creative activities obtained only slightly lower scores (M = .15, SD = .12) than those asked about their self-concept first (M = .18, SD = .14), F(<reflink idref="bib1" id="ref57">1</reflink>, 1000) = 7.79, p = .005, and the effect size of this difference was minimal: Cohen’s d = 0.18 (η<sups>2</sups> = .008).</p> <p>As the order effect on creative self-beliefs emerged when participants were first asked about creative activities, the correlations between creative self-beliefs and creative activity across conditions were compared. For the activity items first, substantial relationships between creative activity and self-concept measures were found (tCSE: r = .42, CPI, r = .43, and CSC, r = .46, all ps <.001). In the reversed order condition, the correlation was significantly weaker in the case of CPI: r = .30, p < .001 (z = 2.37, p = .02) and CSC: r = .36, p < .001 (z = 2.01; p = .04) and similar in the case of tCSE: r = .36, p = .001 (z = 1.12, p = .26).</p> <hd id="AN0129233983-11">Interaction Effects</hd> <p>To explore if the order effect might be related to participants’ characteristics, the sex × order and age × order interactions were exploratorily tested in two subsequent MANOVAs.</p> <p>There was no significant sex × order interaction, which showed that male and female participants were equally susceptible to the order effect. A statistically significant interaction age × order for a composite CSC, F(<reflink idref="bib4" id="ref58">4</reflink>, 967) = 2.96, p = .019, η<sups>2</sups> = .012, and for CPI, F(<reflink idref="bib4" id="ref59">4</reflink>, 967) = 3.39, p = .009, η<sups>2</sups> = .014, and marginal effect for tCSE, F(<reflink idref="bib4" id="ref60">4</reflink>, 967) = 2.27, p = .06 emerged. In all these cases, there were no order effects among the youngest participants (<reflink idref="bib18" id="ref61">18-24</reflink>, p = .55 for CPI, p = .27 for tCSE, and p = .36 for CSC); the remaining participants evaluated their creative self-beliefs worse when creative activity items were presented first.</p> <hd id="AN0129233983-12">Latent Profile Analysis</hd> <p>Based on creative activity, the latent profile analysis revealed existence of three profiles that differed in the patterns of their previous creative activities (entropy = .78). The three-profile solution was characterized by a better fit than a comparative 2-profile model as assessed based on the Likelihood Ratio Test (LRT; Nylund, Asparouhov, & Muthén, [<reflink idref="bib40" id="ref62">40</reflink>] ), LRT = 497.35, p < .001. The smallest (n = 208, 20.8%) profile 1 declared the highest level of creativity in such creative domains as the arts and science, and the larger profile 2 (n = 308, 30.8%) was composed of individuals who reported a relatively high level of everyday creative activities (e.g., cooking or decorating the apartment). Finally, almost a half of all participants formed the largest profile 3 with the lack of creative activity (n = 484, 48.4%; see Figure 2).</p> <p>A 3 (latent profile: professional, everyday, lack of creative activity) × 2 (order: activity first-versus creative self-concept first) MANOVA was used to examine whether previous creative activity moderates the order effect.</p> <p>In the case of CSE, there was a significant main effect of order, F(<reflink idref="bib1" id="ref63">1</reflink>, 971) = 20.86, p < .001, η<sups>2</sups> = .02 and the latent profile, F(<reflink idref="bib2" id="ref64">2</reflink>, 971) = 80.05, p < .001, η<sups>2</sups> = .14, but no profile × order interaction, F(<reflink idref="bib2" id="ref65">2</reflink>, 971) = 2.08, p = .125, η<sups>2</sups> = .004. Notably, however, the hypothesized (H2) statistically significant order effect was observed only among those participants who belonged to no-creativity (p < .001) and everyday creativity (p < .001) profiles; there was no effect in the professional creativity class (p = .58).</p> <p>In the case of CPI and CSC, both main effects, as well as profile × order interaction, were statistically significant: CPI, F(<reflink idref="bib2" id="ref66">2</reflink>, 971) = 4.33, p = .013, η<sups>2</sups> = .01, and CSC, F(<reflink idref="bib2" id="ref67">2</reflink>, 971) = 3.57, p = .03, η<sups>2</sups> = .01. Importantly and consistently with H2, a stable pattern emerged: No order effect was observed among participants from the professional creativity profile (p = .53 for CPI, p = .28 for CSC), but in the case of everyday and no-creativity profiles, there were statistically significant differences between conditions: When creative activity items were presented first, the creative self-concept was significantly lower in those two groups than when creative self-concept items were asked first (see Figure 3).</p> <hd id="AN0129233983-13">DISCUSSION</hd> <p>Does the order of presentation of creativity-related scales make a difference when people rate their creativity? This investigation demonstrates that it is, indeed, the case: Participants first asked about domain-specific creative activities (e.g., cooking, writing, or programming), reported lower level of generalized tCSE, CPI, and composite CSC than those who were first asked about their creative self-concept. As creative self-beliefs were measured on a general level—without asking about particular tasks or domains (see, for example, Kaufman, [<reflink idref="bib33" id="ref68">33</reflink>] ; McKay, Karwowski, & Kaufman, [<reflink idref="bib38" id="ref69">38</reflink>] )—this finding may be considered in line with Schwarz and Strack’s ([<reflink idref="bib57" id="ref70">57</reflink>] ) hypotheses that temporarily activated domain-specific information inhibits more general judgments. Moreover, people with more professional creative experiences were unsusceptible to the order effect, which was observed only among no-creativity and everyday creativity groups. When creative activity items preceded creative self-beliefs assessment, individuals from these two groups perceived themselves as less creative.</p> <p>How to interpret these findings? First, as the order effect emerged when participants first reported their specific creative activities, the specific-to-general sequence occurred, which suggests that temporarily activated specific content that might not normally be accessible for people with no achievement, modifies their general creativity self-perception. This finding is in line with Schwarz and Strack’s ([<reflink idref="bib57" id="ref71">57</reflink>] ) arguments, as well as with the more recent findings (e.g., Bowman & Schuldt, [<reflink idref="bib6" id="ref72">6</reflink>] ; Deaton, [<reflink idref="bib9" id="ref73">9</reflink>] ). Indeed, it seems plausible that individuals do not chronically think about their domain-specific creative activities—especially those who do not value creativity. Consequently, when they are asked to report such activities, i.e., when their memories about concrete activities are activated, it is harder for them to exaggerate their CSE or CPI. Therefore, asking about creative activity first may help to calibrate individuals’ beliefs about their creative abilities and allow for more accurate self-ratings.</p> <p>The findings obtained in this study suggest that the order effect occurs only among the less creatively experienced participants. Lack of this effect observed among people who formed a more professional creativity class does, indeed, suggest that, thanks to their experience and expertise, the knowledge about creativity may be more easily available. Hence, individuals who are more experienced in creative activity seem to be better calibrated when evaluating their creative self-efficacy, and their ratings are more strongly anchored in their real experiences. It should be emphasized, however, that contemporary creativity research relies heavily on samples composed of students or laypeople, with almost a complete lack of observable creative achievement (e.g., Carson, Peterson, & Higgins, [<reflink idref="bib7" id="ref74">7</reflink>] ; Piffer & Yoon-Mi, [<reflink idref="bib42" id="ref75">42</reflink>] ; Wang, Ho, Cheng, & Cheng, [<reflink idref="bib63" id="ref76">63</reflink>] ). Thus, even if the order effect does not influence responses of people from Pro-c of Big-C creativity categories (Kaufman & Beghetto, [<reflink idref="bib34" id="ref77">34</reflink>] ), it may still exert influence on findings obtained in most creativity studies.</p> <p>From a wider methodological perspective, this study may stimulate a discussion about the best strategies to maximize accuracy and minimize bias in measuring creative self-beliefs. Thus, it might be worthwhile to consider how measurement order and specific versus general nature of presented items might alter the obtained findings. Moreover, Dillman, Smyth, and Christian ([<reflink idref="bib12" id="ref78">12</reflink>] ) argued that the order effect may emerge not only when preceding items influence the processing of later questions (cognitive-based order effect), but also when initial questions evoke a social norm that influences responses (normative-based order effect). Future investigations of the order effect and the importance of item content in the creativity domain should examine factors and conditions under which the cognitive- and normative-based order effects occur.</p> <p>On a more theoretical than methodological level, these findings may open new avenues for investigating the question of the effectiveness of various, often quite subtle, influences on creative self-beliefs. Specifically, it seems plausible that manipulating the order effect may also activate more growth (if creative self-beliefs items are presented first) or fixed (if creative activity items are presented first) creative mindsets (e.g., Karwowski, [<reflink idref="bib25" id="ref79">25</reflink>] ; Karwowski & Brzeski, [<reflink idref="bib29" id="ref80">29</reflink>] ). Previous studies demonstrated clear links between these creative mindsets (especially growth creative mindset) and creative self-beliefs (e.g., Hass, Katz-Buonincontro, & Reiter-Palmon, [<reflink idref="bib21" id="ref81">21</reflink>] ; Karwowski, [<reflink idref="bib25" id="ref82">25</reflink>] ; Pretz & Nelson, [<reflink idref="bib45" id="ref83">45</reflink>] ; Puente-Diaz & Cavazos-Arroyo, [<reflink idref="bib48" id="ref84">48</reflink>] ), hence it may be speculated that the exact mechanism of the order effect may be more complex, with the mediating role of activated specific creative mindsets.</p> <hd id="AN0129233983-14">LIMITATIONS AND FUTURE DIRECTIONS</hd> <p>This study extended previous results about the order effect to creativity research. However, when interpreting its findings, three limitations and future directions should be taken into consideration. First, participants were assigned to one of the order conditions, so the manipulation was between-person. Future studies might benefit from within-subject designs. Second, systematical replications with various measures of creative activity that would test stability of the order effect in creativity domain are necessary to demonstrate the boundary conditions and the effect size of the order effect. Should it be considered a methodological by-product and largely an idiosyncrasy of research procedure, or a substantial finding that shows that creative self-beliefs are highly flexible and susceptible to even very subtle priming effects (see e.g., Hansen & Wänke, [<reflink idref="bib20" id="ref85">20</reflink>] )? 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  Label: Geographic Terms
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Poland%22">Poland</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1080/10400419.2018.1446499
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 1040-0419
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: People tend to perceive and assess their own creativity in a positive, yet not always accurate, way. This study explores whether differences in self-ratings of the creative self-concept (creative self-efficacy and creative personal identity) are related to the sequence in which self-report measures are applied: the order effect. A randomly chosen half of a representative sample of Poles, contacted via a telephone interview, answered the items related to their creative self-concept first, followed by the items related to their previous creative activity. Another half of the sample completed these measures in a reversed order: The creative activity scale was completed first and then creative self-concept items were asked. The results demonstrated that people who were first asked about their previous creative activities reported a lower level of creative self-efficacy and creative personal identity than those asked about their creative self-concept first. Further analyses demonstrated that creative activity moderated this pattern: Participants without previous creative activity and those who engaged solely in everyday creative activities in the past, were susceptible to the order effect, but this effect was not observed among the participants with previous experience in art or science.
– Name: AbstractInfo
  Label: Abstractor
  Group: Ab
  Data: As Provided
– Name: Ref
  Label: Number of References
  Group: RefInfo
  Data: 63
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2018
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1176723
PLink https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1176723
RecordInfo BibRecord:
  BibEntity:
    Identifiers:
      – Type: doi
        Value: 10.1080/10400419.2018.1446499
    Languages:
      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 8
        StartPage: 179
    Subjects:
      – SubjectFull: Creativity
        Type: general
      – SubjectFull: Self Evaluation (Individuals)
        Type: general
      – SubjectFull: Self Concept
        Type: general
      – SubjectFull: Sequential Approach
        Type: general
      – SubjectFull: Foreign Countries
        Type: general
      – SubjectFull: Interviews
        Type: general
      – SubjectFull: Creative Activities
        Type: general
      – SubjectFull: Likert Scales
        Type: general
      – SubjectFull: Measures (Individuals)
        Type: general
      – SubjectFull: Multivariate Analysis
        Type: general
      – SubjectFull: Adults
        Type: general
      – SubjectFull: Hypothesis Testing
        Type: general
      – SubjectFull: Statistical Analysis
        Type: general
      – SubjectFull: Poland
        Type: general
    Titles:
      – TitleFull: The Order Matters: Asking about Creative Activity Calibrates Creative Self-Concept
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: Czerwonka, Marta
      – PersonEntity:
          Name:
            NameFull: Karwowski, Maciej
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 01
              Type: published
              Y: 2018
          Identifiers:
            – Type: issn-print
              Value: 1040-0419
          Numbering:
            – Type: volume
              Value: 30
            – Type: issue
              Value: 2
          Titles:
            – TitleFull: Creativity Research Journal
              Type: main
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