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Oops, Twitter Did It Again: Creativity and the “Positive Manifold”
Andrew Watson
Andrew Watson

I’ve written before that edu-Twitter can be a great help to teachers. I myself regularly learn about fascinating research, and practical teaching applications, from the wise accounts I follow.

Child sitting on a stool creates fantastic color patterns in the air

Of course, Twitter is also notorious for its edu-nonsense. (No claim about learning styles is too outlandish for the little blue bird.)

I ran across a tweet thread recently that captured this complexity; it strikes me as a healthy reminder of Twitter’s features and foibles.

Here’s the story…

Extraordinary Creativity

A well-known tweep (with 10s of thousands of followers) recently recounted the following story:

An engineer who specialized in designing racing-car engines saw a contest to devise an advertising slogan.*

On a whim, he decided to enter. Drawing on principles from engine design, he conjured up an out-of-left-field slogan that captured public imagination and made the product a best seller.

Now a newly minted ad-executive, this engineer embodies the “positive manifold” as described by psychologist Charles Spearman.

In brief, the “positive manifold” suggests that the strengths of cognitive abilities are correlated; so, skill at race-car design correlates with skill at devising advertising slogans.

In other words, the tweep writes, “expertise gained through specialization is transferrable.”

This story captures several themes beloved by twitter – especially the joyous flexibility of creativity. Skill at anything, in this school of thought, benefits skill at anything else – because “expertise gained through specialization is transferrable.”

When applied to schooling, this argument suggests that students don’t need to learn any particular stuff.

As long as students are learning something, the expertise they gain by learning that something will help them everywhere else. (Again: expertise is transferrable.)

Early Doubts

This approach to creativity has lots of appeal. However, research has tended to contradict it.

Here’s why:

The human mind includes several alarming cognitive bottlenecks.

On the one hand, our long-term memory is functionally infinite. We can know and remember an astonishingly large amount of stuff – both skills and procedures.

On the other hand, the part of the mind that combines pieces in new ways is alarmingly small.

This cognitive function, called “working memory,” just doesn’t have much space.

For instance:

If I ask you to put FIVE random words into alphabetical order in your head, you can probably do so easily enough.

If, however, I ask you to put TEN random words into alphabetical order, your working memory will start smoking and (temporarily) explode.

Creativity, of course, requires combining pieces in a new order – that is: it requires working memory.

Unless someone has organized and consolidated a VAST amount of information in long-term memory, it will be difficult to execute this highly demanding working memory task.

In other words: this story about an engineer-turned-ad-executive sounded really unlikely.

Contra the tweep’s claims, expertise gained through specialization is NOT transferrable to another specialty. Knowing a great deal about racing-car engines almost certainly doesn’t help create catchy advertising slogans.

Not So Fast

Cognitive scientists generally agree that expertise can’t be transferred, and that creativity requires lots of expert background knowledge.

But remember: the tweep has cited Spearman’s “positive manifold.”

In fact, he notes that a well-known Learning and the Brain speaker has written about the positive manifold.**

If my own organization is touting this concept, surely I should value its application.

Now I have an embarrased confession:

I’ve never even heard of the “positive manifold.”

Given my alarming ignorance, perhaps I should simply admit my prior beliefs about transfer and creativity were wrong.

Instead, I looked up “positive manifold.”

Turns out: the positive manifold has NOTHING TO DO with transfer of expertise.

Spearman found that various measures of intelligence correlate with one another. People who study intelligence write about “g” — a “general intelligence” — because the various subscales on intelligence correlate.

Of course, that finding does not remotely suggest that expertise in race cars correlates with (or causes) expertise with advertising. Spearman never said any such thing.

He was investingating the NARROW topic of intelligence testing, not the BROAD question of creativity and transfer.

But wait: what about that Learning and the Brain speaker?

Sure enough, his book devotes about a page and a half to “positive manifold.” Those pages explain that various measures of intelligence correlate — and says nothing whatsoever about creativity, or about transfer of expertise.

Savor the Irony

Here’s the larger perspective: someone who clearly has Twitter expertise (10s of thousands of followers) claims to have another kind of expertise: expertise in creativity and psychology research.

However, his first kind of expertise does not transfer to the second kind of expertise. He doesn’t know enough about psychology to know how little he knows. (This mistake might sound like Dunning-Kruger to you…)

And so, when he writes that “expertise gained through specialization is transferrable,” we should notice that:

First: he’s almost certainly wrong, and

Second: his own tweet thread is an example of his very wrongness. His expertise did not transfer.

I should note, by the way, that I haven’t investigated the story about the engineer. It’s possible, I suppose, that lightning struck in this one case.

However, teachers and school leaders should absolutely NOT act as if this one anecdote matters for education or curriculum design.

And this episode should remind us: Twitter can offer intriguing suggestions…but we should always investigate them skeptically.


* As is typical on this blog, I’m not identifying the tweet I’m criticizing. My goal is not to name/shame an individual, but to raise alarms about common practices. This tweet is just one example.

** Again: I’m being vague so as not to identify the tweet.

 

Walking Promotes Creativity? A Skeptic Weighs In…
Andrew Watson
Andrew Watson

When teachers try to use psychology research in the classroom, we benefit from a balance of optimism and skepticism.

Family walking toward camera in autumn woods

I confess, I’m often the skeptic.

When I hear that – say – “retrieval practice helps students learn,” I hope that’s true, but I want to see lots of research first.

No matter the suggestion…

… working memory training!

… dual coding!

… mindfulness!

… exercise breaks!!!

… I’m going to check the research before I get too excited. (Heck, I even wrote a book about checking the research, in case you want to do so as well.)

Here’s one surprising example.

Because I really like the outdoors (summer camp, here I come!), I’d LOVE to believe that walking outside has cognitive benefits.

When I get all skeptical and check out the research…it turns out that walking outside DOES have cognitive benefits.

As I wrote back in May, we’ve got enough good research to persuade me, at least for now, that walking outdoors helps with cognition.

Could anything be better?

Yup, Even Better

Yes, reader, I’ve got even better news.

The research mentioned above suggests that walking restores depleted levels of both working memory and attention.

“Yes,” I hear you ask, “but we’ve got other important mental functions. What about creativity? What does the research show?”

I’ve recently found research that looks at that very question.

Alas, studying creativity creates important research difficulties.

How do you define “creativity”?

How do you measure it?

This research, done by Oppezzo and Schwartz, defines it thus: “the production of appropriate novelty…which may be subsequently refined.”

That is: if I can come up with something both new and useful, I’ve been creative – even if my new/useful thing isn’t yet perfect.

Researchers have long used a fun test for this kind of creativity: the “alternative uses” test.

That is: researchers name an everyday object, and ask the participants to come up with alternative uses for it.

For example, one participant in this study was given the prompt “button.” For alternative uses, s/he came up with…

“as a doorknob for a dollhouse, an eye for a doll, a tiny strainer, to drop behind you to keep your path.”

So much creativity!

Once these researchers had a definition and a way to measure, what did they find?

The research; the results

This research team started simple.

Participants – students in local colleges – sat for a while, then took a creativity test. Then they walked for a while, and took second version of that test.

Sure enough, students scored higher on creativity after they walked than after they sat.

How much higher? I’m glad you asked: almost 60% higher! That’s a really big boost for such a simple change.

However, you might see a problem. Maybe students did better on the 2nd test (after the walking) because they had had a chance to practice (after the sitting)?

Oppezzo and Schwartz spotted this problem, and ran three more studies to confirm their results.

So, they had some students sit then walk, while others walked then sat.

Results? Walking still helps.

In another study, they had some students walk or sit indoors, and walk or sit outdoors.

Results: walking promotes creativity both indoors and out.

Basically, they tried to find evidence against the hypothesis that walking boosts creativity…and they just couldn’t do it. (That’s my favorite kind of study.)

Just One Study?

Long-time readers know what’s coming next.

We teachers should never change our practice based on just one study – even if that study includes 4 different experiments.

So, what happens when we look for more research on the topic?

I’ve checked out my go-to sources: scite.ai and connectedpapers.com. (If you like geeking out about research, give them a try – they’re great!)

Sure enough, scite.ai finds 13 studies that support this conclusion, and 3 that might contradict it. (In my experience, that’s a good ratio.)

Connectedpapers.com produces fewer on-point results. However, the most recent study seems like a very close replication, and arrived at similar findings.

In brief: although I’m usually a skeptic, I’m largely persuaded.

TL;DR

Walking outdoors helps restore working memory and attention; walking either indoors or outdoors enhances creativity (at least as measured by the “alternative uses”  test).

I’d love to see some studies done in schools and classrooms. For the time being, I think we have a persuasive foundation for this possible conclusion.

Our strategies for putting this research to good use will, of course, be different for each of us. But it’s good to know: simply walking about can help students think more creatively.


Oppezzo, M., & Schwartz, D. L. (2014). Give your ideas some legs: the positive effect of walking on creative thinking. Journal of experimental psychology: learning, memory, and cognition40(4), 1142.

New Research: Unrestricted Movement Promotes (Some Kinds of) Creativity
Andrew Watson
Andrew Watson

Teachers like creativity.

We want our students to learn what has come before, certainly. And, we want them to do and think and imagine new things with that prior knowledge.

We want them, in ways big and small, to create. How can we best foster such creativity?

Over the years, I’ve often heard that walking outside promotes creativity.

Because I work at a summer camp, I’m in favor of almost anything that promotes being outside. Alas, it turns out, this data pool didn’t hold up very well.

Since that time, lots of folks have focused on the walking part of “walking outside.” Several studies do suggest that simply walking around ramps up creative output. (For instance, here.)

Can we be more specific than “walking around”? Do some kinds of walking boost creativity more than others?

Defining Creativity

Ironically, the study of creativity begins with mundane, even tedious, tasks: defining and measuring it.

Researchers often focus on two kinds of creativity.

First, my students might come up with something new and useful.

Researchers measure this flavor of creativity (“divergent”) in a fun way:

Think about, say, a brick. Now, list all the things you might do with a brick.

The answer “build a wall” doesn’t score very high, because almost everyone says “build a wall.”

The answer “raise the water level in my pool by throwing lots of bricks in” does score high, because — well — because nobody ever says that. This answer is new and (assuming you care about the water level in your pool) useful.

Second, my students might see hidden connections.

Researchers measure this flavor of creativity (“convergent”) in another fun way:

Think about these three words: cottage, swiss, and cake.

Can you think of a word that pairs with each of those to make a meaningful phrase? (Answer: “cheese.” As in, cottage cheese, etc.)

Researchers in Germany wanted to knowwhat kind of walking might increase DIVERGENT creativity.

Here’s what they found…

It’s All About the Freedom

Researchers Supriya Murali and Barbara Händel asked participants to walk or to sit.

And, they asked them to do so in restricted or unrestricted ways.

Unrestricted walkers, for instance, could walk around a large room however they pleased. Restricted walkers had to walk back and forth down the middle of the room. (Notice: all this walking was inside.)

Unrestricted sitters sat in a solid chair (no wheels, no reclining features) with a view of the full room. Restricted sitters sat in the same chair, but with a computer screen in front of them. The “fixation cross” on the screen implied (if I understand this correctly) that the participants should remain focused on the screen.

What happened afterwards, when they took a test on divergent thinking?

Headlines:

Walkers scored higher on tests of divergent creativity than sitters.

Participants without restrictions (both walking and sitting) scored higher than their restricted peers.

For some interesting reason, unrestricted movement reduces restrictions in subsequent mental activity.

Classroom Implications

As I think about this research, it implies some happy, practical suggestions.

If we want our students to launch an explicitly creative assignment — start composing a poem, imagine an approach to studying a historical question, plan an environmentally-friendly city — we can give them an extra boost of physical freedom.

Walking outside might be good.

But if they can’t walk outside (that’s just not possible in many schools), then walking inside could be good.

Heck, if 25 students walking around in the classroom sounds like too much chaos, maybe they can choose a new place to sit for a while.

In other words: this research suggests that the actual movement (walking/sitting) matters, and that the relative degree of restriction also matters.

Even if students sit in solid chairs, their freedom to choose seats or move seats or sit cross-legged (or whatever) might jostle some creative energy in useful ways.

TL;DR

As long as we don’t make our claims too strong or grand, this research allows a sensible claim: “by reducing physical limitations for a while, we might help students expand their mental activity and creativity.” *


* I should note that the sample sizes in these three studies are quite small: 20, 17, and 23. Were these studies repeated with larger sample sizes (and/or in more classroom-like conditions), I’d be more confident and emphatic in drawing these conclusions.


Kuo, C. Y., & Yeh, Y. Y. (2016). Sensorimotor-conceptual integration in free walking enhances divergent thinking for young and older adults. Frontiers in psychology7, 1580.

Murali, S., & Händel, B. (2022). Motor restrictions impair divergent thinking during walking and during sitting. Psychological research, 1-14.

Does Music Promote Students’ Creativity?
Andrew Watson
Andrew Watson

If we want our students to think creatively, should they listen to music? If yes, does the timing matter?

Intuition might lead us either to a “yes” or to a “no.”

Yes: music might get students’ creative juices flowing. Especially if it’s upbeat, energetic, and particularly creative in itself, music might spark parallel creativity in our students’ thought processes.

No: on the other hand, music just might be a serious distraction. Students might focus so keenly on the music — or on trying to ignore the music — that they can’t focus on the creative work before them.

Do You Smell a CRAT?

Researcher Emma Threadgold used a common creativity test – with the unlikely acronym of CRAT – to answer this question.

Here’s how a CRAT works:

I give you three words: “dress,” “dial,” and “flower.”

You have to think of another word that – when combined with each of those words – produces a real word or phrase.

To solve a CRAT, you have to rifle through your word bank and try all sorts of combinations before – AHA! – you pull the correct answer up from the depths of your brain.

In this case, the correct answer is “sun”: as in, sundress, sundial, and sunflower.

The Results Are In

Threadgold and her team tested this creativity question several times, in order to explore several variables.

They played music with English lyrics, with foreign lyrics, and with no lyrics. They played upbeat, happy music.

They even played library noise – with the sound of a photocopier thrown in for good measure.

In every case, music made it harder to solve CRAT problems.

To put that in stark terms: music interfered with listeners’ creative thinking.

(For those of your interested in statistics, the Cohen’s d values here are astonishing. In one of the three studies, the difference between music and no music clocked in a d=2.86. That’s easily the highest d value I’ve seen in a psychology study. We’re typically impressed by a value above 0.67.)

Case Closed?

Having done such an admirably thorough study, has Threadgold’s team answered this question for good?

Nope.

As always, teachers should look not for one definitive study, but for several findings that point in the same direction.

And, we should also look for boundary conditions. This research might hold up for these particular circumstances. But: what other circumstances might apply?

For me, one obvious answer stands out: timing.

Other researchers have studied creativity by playing music before the creative task, not during it.

For instance, this study by Schellenberg found that upbeat music produces higher degrees of creativity in Canadian undergraduates AND in Japanese five-year-olds. (Unsurprisingly, the five-year-olds were especially creative after they sang songs themselves.)

In this study, crucially, they listened to the music before, not during, the task.

Threadgold’s study, in fact, cites other work where pre-test music enhanced creativity as well.

More Questions

Doubtless you can think of other related questions worth exploring.

Do people who learn to play music evince higher degrees of creativity in other tasks?

How about courses in music composition?

Music improvisation training?

Does this effect vary by age, by culture, by the kind of music being played?

For the time being, based on what I know about human attention systems, this study persuades me that playing music during the creative task is likely to be distracting.

Depending on what you want your students to do, you might investigate other essential variables.

__________________

On a related topic: for Dan Willingham’s thoughts on listening to music while studying, click here.

Can Creativity Be Taught? What’s the Formula?
Andrew Watson
Andrew Watson

My edutwitter feed has a lively debate about this question: can we teach people to be creative?

This round started with a post by David Didau, summarizing a debate between himself and Paul Carney.

Didau believes (oversimplifying here) that creativity is an emergent phenomenon, resulting from a knowledge-rich curriculum.

When people know lots o’ stuff, they are increasingly able to come up with new and useful combinations of that stuff. And, that’s how we typically define “creativity”: new & useful.

On the contrary, Carney believes that creativity can — in fact, must — be taught directly. For instance, he believes that helping students visualize complex patterns can help them see information in new ways.

That is, one teachable skill leads to greater creativity in general.

What’s the Secret Formula?

Tom Sherrington weighs in on this debate, and (creatively) adds his own twist.

Although he doesn’t think creativity can be taught, he does think it can be fostered. In fact, he’s got a formula for fostering it. Here goes:

c = f (K, P, D)

Unsurprisingly, the K in Sherrington’s formula is “knowledge.” I’ll let you read his article to explore the other two key variables.

As an added bonus, you’ll get to see a Francis-Bacon-inspired portrait of Sherrington’s son, painted by Sherrington’s daughter. I don’t doubt you’ll be impressed by the creativity on display…

 

Beware: Too Much Structure Hinders Creativity (for Experts)
Andrew Watson
Andrew Watson

structure inhibits creativity

How can teachers foster our students’ creativity?

To explore that question, we can also reverse it: what inhibits creativity?

Two researchers at the University of Toronto wondered if information structure hinders creativity.  That is: do we interfere with imaginative impulses if we give people information within clear and logical hierarchies.

If that’s true, could we encourage creativity by presenting information in unstructured ways?

100 Nouns

Kim and Zhong explored this possibility with two different research paradigms.

In the first, they gave college students lists of 100 nouns and asked them “to generate as many sentences as they want” using those words.

Half of these students were given nouns in obvious groupings. All the “games” were listed together: chess, bingo, backgammon. All the “bodies of water”: river, ocean, waterfall. All the “tools,” “pieces of jewelry,” and “trees.” In other words, students got these nouns within a clearly structured system.

The other half of the students saw those 100 nouns listed in a jumble: meteor, wildebeest, soccer, hotel, Ukraine. This second list, clearly, lacks any coherent system.

When the sentences that students wrote were rated for creativity, researchers found a clear difference. Students who saw nouns in a structured list wrote notably less creative sentences that those who saw the jumbled list.

For these students, logical structure hinders creativity. Absence of that structure promotes it.

Lego Aliens

To be sure of their conclusion, Kim and Zhong then asked different students to build an alien out of Lego bricks.

As you’ve already predicted, half of the participants got their Legos pre-sorted by shape and color. The other half got the same pieces all mixed together in a bin.

Here again, structure reduced creativity. Legos mixed together prompted more creative aliens than Legos sorted into tidy categories.

“Structure hinders creativity”: classroom implications

Reading this study, teachers who value creativity might be tempted to reduce cognitive structures as much as possible.

Here’s my advice: DON’T DO THAT.

Why? Beginners need structure to learn. This study was done with experts. College students are already very good at writing sentences. They devoted childhood years to building objects out of Lego.

In other words, they were not learning a new skill. They were, instead, being creative with a well-tuned skill.

For this reason, we should take this study as guidance for student creativity in skills they have already mastered. For skills they are still learning, students need lots of guidance, and structure.

The Science of Creativity
Andrew Watson
Andrew Watson

AdobeStock_135006477_Credit

In this 20 minute video,  James Kaufman explains how researchers define creativity, and how they measure it.

He also discusses the limitations on both the definitions and the measurements.

(Note, too, the dexterous water-bottle management.)

Although he title of this video is “What Can Neuroscience Offer the Study of Creativity?”, the presentation focuses entirely on psychology: that is, the behavior of the creative mind, not the physical make-up of the creating brain. I’m hoping that subsequent videos explore neuroscience in greater depth.

The Potential Perils of Google
Andrew Watson
Andrew Watson

AdobeStock_78127454

You have heard before, and will doubtless hear again, that students don’t need to memorize facts because everything we know is available on the interwebs.

Mirjam Neelen and Paul A. Kirschner explain all the ways in which this claim is not just wrong, not just foolishly wrong, but dangerously wrong.

(The danger, of course, is that if we believe it, we’ll fail to teach our students all sorts of things they need to know.)

Students can do critical thinking if and only if they already know lots (and lots) of factual material. We don’t stifle creativity or deep thinking by teaching facts: we make creativity and deep thinking possible.