A Study Of The Factorial Validity And Reliability Of The Individual Test Of Creativity

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Content A STUDY O F THE FA CTO RIA L VALIDITY
AND RELIA BILITY OF THE
INDIVIDUAL TEST O F CREATIVITY
by
Donald R oss Hulen F rid ley
A D is s e r ta tio n P re s e n te d to the
F A C U L T Y O F TH E GRADUATE SCHOOL
UNIVERSITY O F SOUTHERN CALIFORNIA
In P a r tia l F ulfillm ent of the
R e q u ire m e n ts for the D egree
DOCTOR O F PHILOSOPHY
(Education)
June 1972
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University Microfilms
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I
I
73-9311
FRIDLEY, Donald Ross Hulen, 1932-
A STUDY OF THE FACTORIAL VALIDITY AND
RELIABILITY OF THE INDIVIDUAL TEST OF
CREATIVITY.
University of Southern California, Ph.D., 1972
Education, psychology
University Microfilms, A X ER O X Com pany, Ann Arbor, Michigan
C opyright O by
DONALD ROSS H U LEN FR ID LEY
1973
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED.
UNIVERSITY O F SOUTHERN CALIFORNIA
THE GRADUATE SCHOOL.
UNIVERSITY PARK
LOS ANGELES. CALIFORNIA 9 0 0 0 7
This dissertation, written by
................D ona Id R oss Hul e n F r id ley..................
under the direction of Ais.... Dissertation Com
mittee, and approved by all its members, has
been presented to and accepted by The Gradu
ate School, in partial fulfillment of require
ments of the degree of
D O C T O R OF P H IL O S O P H Y
Dtan
Date........
DISSERTATION COMMITTEE
Chairman
.....
PLEASE NOTE:
Some pages may have
indistinct print.
Filmed as received.
University Microfilms, A Xerox Education Company
TA B LE O F CONTENTS
C hapter
I.
n .
I
! III.
i
IV.
INTRODUCTION TO THE P R O B L E M ...........................
Scope of the P r o b le m
P u rp o se
A D escription of the Individi '‘1 T e st of C reativity
Definitions of T e r m s
A ssum ptions
L im itations and D e lim itations
O rganization of R em aining C h a p te rs
REVIEW O F THE L IT E R A T U R E .........................................
What Is Creativity: A P r o b le m in Definitions
Cognitive C h a r a c te ris tic s
C reativy and Intelligence
Cognitive P r o c e s s e s
P e rso n a lity and M otivational C h a r a c te ris tic s
M ETH O D AND PR O C E D U R ES O F THE STUDY . . . .
The Individual T e s t of C reativity
G uilford's M a rk e r T e s ts
Subject Sampling
Additional Validity D ata
A d m in istra tio n and Scoring
D escrip tio n of S ta tistica l M ethods and T re a tm e n t
of Data
RESULTS O F THE S T U D Y ..........................................................
F a c to r A nalysis of the Individual T e s t
of C reativity
F a c to r ia l V alid ity --G u ilfo rd M a rk e r T est
and ITOC
C h a p te r P a g e
In te r cor re la tio n of the Subtests of the ITOC
T e s t R eliability of ITOC
R e s u lts of C o rre la tio n a l A nalysis and
R e g r e s s io n A nalysis
D e s c rip tiv e S ta tistics on the ITOC
V. SUMMARY, CONCLUSIONS, AND
RECOM M ENDATIONS 155
S u m m a r y
Conclusions
Re com m endations
R E FE R E N C E S 173
APPENDIXES
A.
B.
S ta tis tic a l D a t a ........................
Individual T e s t of C reativity
iii
LIST O F TABLES
j Table Page
;
1. H ypothesized SI F a c to r for I T O C .............................................. 58
I
2. ITOC F o r m s A and B Rotated F a c to r A nalysis I . . . . 711
3. ITOC F o r m s A and B Rotated F a c to r A nalysis II
F o r c e d to Six F a c t o r s .............................................................. 73
4. Rotated F a c to r A n a ly sis of ITOC F o r m A ............................. 76j
i
5. Rotated F a c to r A nalysis of ITOC F o r m B ............................. 77|
6. C o rre la tio n of ITOC Subtests to Guilford
M a r k e r T e s t ................................................................................... 80j
7. I n te rc o rre la tio n of Guilford M a rk e r T ests F o r
E ach S a m p l e ................................................................................... 81
8. C o rre la tio n Between Guilford M a rk e r T e sts and
F a c to re d Item s of the ITOC F o r m A ............................ 82
9. C o rre la tio n Betw een Guilford M a rk e r T e sts and
F a c to r e d Item s of the ITOC F o r m B ............................ 83
10. ITOC Subtest Inter c o rr e la tio n s , F o r m A ............................. 92
11. ITOC Subtest In te r c o r r e la tio n s , F o r m B ............................. 93
12. ITOC T e s t- R e te s t R e l i a b i l i t y ........................................................ 97
13. T e s t- R e t e s t R e lia b ility --M e a n s and Standard
D eviations, F o r m A (N = 2 2 ) ............................................. 10C
14. T e s t- R e te s t R e lia b ility --M e a n s and Standard
D eviations, F o r m B (N = 2 0 ) ............................................. 101
IV
T able
15.
! 1 6 -
! 17.
i
! 18.
I !9-
2 0 .
21 .
2 2 .
23.
i
j
i
i 24.
25.
! 26.
27.
28.
ITOC Subtest C o rre la tio n s with SCAT, GPA,
and IQ, F o r m s A and B ...........................................................
M ultiple R e g re s s io n A n a l y s is .......................................................
ITOC C onversion Table of R aw S c o r e s to Standard
S c o res with a M ean of 100 and a Standard
Deviation of 1 5 ............................................................................
ITOC S u m m a ry Table of M ean s and Standard
Deviations by Age in Y e a r s ................................................
F re q u e n c y D istribution by Age and F o rm :
Total P e r f o r m a n c e S c o re , F o r m A, Age 16 . . . .
F re q u en c y D istrib u tio n by Age and F o rm :
Total V erbal Score, F o r m A, A ge 1 6 ........................
F re q u e n c y D istribution by Age and F o rm :
Total P e r fo r m a n c e and V erbal S core, Age 16 . . .
F re q u e n c y D istrib u tio n by Age and F o rm :
Total P e r fo r m a n c e S c o re , F o r m A, Age 17 . . . .
F re q u e n c y D istrib u tio n by Age and F o rm :
Total V erbal Score, F o r m A, Age 1 7 ........................
F re q u e n c y D istrib u tio n by Age and F o rm :
Total P e r fo r m a n c e and V erb al, F o rm A , Age 17 .
F re q u e n c y D istribu tion by Age and F o rm :
Total P e r fo r m a n c e S c o re , F o r m A, Age 18 . . . .
F re q u e n c y D istrib u tio n by Age and F o rm :
Total V erbal S core, F o r m A, A ge 1 8 ........................
F re q u e n c y D istrib u tio n by A ge and F o rm :
Total P e r fo r m a n c e and V erb al, F o rm A , Age 18.
F re q u en c y D istribution by Age and F o rm :
Total P e r fo r m a n c e S c o re , F o r m B, Age 16 . . . .
T able
29.
i
! 30.
I
|
l 31.
J
j 32.
I
33.
34.
: 35.
i 36.
I
i
i
i
I 37.
P a g e |
F re q u en c y D istribu tion by Age and F o rm : |
Total V erbal S co re, F o r m B, Age 16........................... 139
F re q u en c y D istribution by Age and F o rm :
Total P e r fo r m a n c e and V erbal S c o re s ,
F o r m B, Age 16................................................................. 140
F re q u en c y D istribu tion by Age and F o r m : '
Total P e r fo r m a n c e S c o re , F o r m B, Age 17 . . . . 141
F re q u e n c y D istrib u tio n by Age and F o rm : j
Total V erbal S c o re, F o r m B, Age 1 7 ........................ 142j
F re q u e n c y D istribu tion by Age and F o rm : j
Total P e r fo r m a n c e and V e rb a l S c o re s ,
F o r m B, Age 17...................................................... 144|
I
F re q u e n c y D istribution by Age and F o rm : i
Total P e r fo r m a n c e S c o re, F o r m B, Age 18 . . . . 146;
F re q u en c y D istribution by Age and F o r m : j
Total V erbal S co re, F o r m B, Age 1 8 ........................ 148
F re q u en c y D istribu tion by Age and F o rm :
Total P e r fo r m a n c e and V e rb a l S c o re s ,
F o r m B, Age 1 8 ............................................................. 151
ITOC S u m m a ry Table of O ccupational M eans and
Standard D e v i a t i o n s ............................................................... 154
vi
C H A P T E R I
INTRODUCTION TO THE P R O B L E M
In his p re s id e n tia l a d d re s s to the A m e ric a n P sychological A s s o
ciation in 1950, J. P. Guilford pointed to the neglect by psychologists
to investigate the a r e a of creativity. In the 121,000 title s listed in the
P sychological A b s tra c ts over the 23 y e a rs preceding 1950, he and his
a s s o c ia te s had found rela tiv e ly few a r tic le s that could be re la te d to the
study of creativ ity (Guilford, 1950). Subsequent to this a d d re s s , th e re
had been a rapid grow th in r e s e a r c h into c reativ ity . Social p r e s s u r e s ,
technological d e m a n d s, Sputnik, and overpopulation r e p r e s e n t but a few
of the fo rc e s that have in c re a s e d the dem and for hum an talent. In te re s t
in c re a tiv ity is its e lf not new. In his rev ie w of r e s e a r c h on c reativ e
thinking, Paul T o r r a n c e (1967) found applicable w ork as far back as 1898.
Scope of the P r o b le m
In a re c e n t rev ie w of lite r a tu r e about c re a tiv ity and giftedness,
A lbert (1969) identified 618 a r tic le s on giftedness fro m a total of
264,453 a r tic le s a b s tr a c te d since 1927 in the P sychological A b s t r a c t s .
!
T h e re w e re eight c a te g o rie s into which m o st of the published w ork on 1
I
i
t
1
c re a tiv ity fell. T h ese w e re p e rso n a lity dynam ics, cognitive p r o c e s s e s ,
enviro n m en tal conditions, definitions, th e o rie s , m otivation, id en tifi
cation of the c re a tiv e , and d e m ographic distribution.
Studies of cre a tiv ity have been c a rr ie d out by such s c ie n tis ts as
T o rra n c e (1962), G uilford (1967), G etzels and J a c k s o n (1962), B a r ro n
(1963), M cKinnon (1964), and o th e rs . T hese studies have been v aried
in th e ir a p p ro a c h e s and have led to the developm ent of d iv e rs e th e o r ie s ,
concepts, and m e a s u r e m e n t p ro c e d u re s .
P a u l T o r ra n c e (1962) has developed the T o r ra n c e T e s t of C r e
ative Thinking, within an educational context p a rtially b a sed on the
fac to rs of fluency, flexibility, originality, and e la b o ra tio n found in
G uilford's S tru c tu re of Intellect. T o rra n c e attem pted to co n triv e s itu
ations that produced m o d els of the c re a tiv e p r o c e s s o c c u rr in g in its
n a tu ra lly com plex setting. Ten te s ts grouped into a v e rb a l and p icto
r ia l b a tte ry w e re given. They a r e titled "Thinking C re a tiv ely with
W o rd s" and "Thinking C reatively with P ic tu r e s " ( T o rr a n c e , 1962).
Sarnoff M ednick (1965) has developed a te s t of cre a tiv y called
R em ote A s s o c ia te s T e st. M ednick defines creativ ity as fo rm in g a s s o
ciative e le m e n ts into n e w com binations which e ith e r m e e t specific .
r e q u ire m e n ts o r a r e in som e way useful. The m o r e m utually re m o te
the e le m en ts of the new com bination, the m o re c re a tiv e the p r o c e s s :
for solution (Mednick and M ednick, 1965). In this t e s t, th re e w o rd s [
a r e p r e s e n te d a s a s tim u lu s to the s u b je c t, who is su p p o s e d to find |
3
so m e re la tio n s h ip betw een the th re e w ords and supply a fourth word
indicating the relationship. In an exam ple given in M ednick's work,
the w ords " r a t ," "blue," and "cottage" a re given. The w ord the subject
is supposed to find to provide the a s so c ia tiv e link betw een th ese three
w o rd s is " c h e e s e ." Thus, r a t c h e ese , blue c h e e s e , and cottage cheese
all r e p r e s e n t the key that links the a sso c ia tio n .
In his a tte m p t to study the n a tu re of hum an intelligence, Guil
f o rd (1967) g e n e ra te d se v e ra l te s ts of d iv erg e n t ability. T hese te sts of
d iv e rg e n t ability m e a s u r e a wide v a rie ty of t r a its that have been related
to the c re a tiv e p r o c e s s . A fu rth e r d isc u s s io n of the stru c tu re of in te l
le c t will be taken up late r. Many o th e r te s ts of c re a tiv ity have been
developed. E a c h te s t attem pts to m e a s u r e cre a tiv ity or som e aspect of
c re a tiv ity . E x a m p le s of these a re the AC T e s t of C reative Ability,
The P u rd u e C reativity T est, the Southern C alifornia T e s t of Creative
Thinking, and o th ers (A nastasi, 1968).
The e n th u s ia sm that has g e n e ra te d r e s e a r c h into creativ ity also
h a s brought about an a w a re n e s s of the com plexity of the p ro b le m being
studied. The t e r m "cre a tiv ity " has been u se d by m any people in v esti
gating m a n y different objectives with differing p r o c e d u r e s and re s u lts .
T h e se d iffe re n c e s give r is e to different m ean in g s for the t e r m of c r e
ativity (Y am am oto, 1964).
I
A n e s s e n tia l step in r e s e a r c h on c re a tiv ity is an adequate o p e r-j
i
i
ational definition. In a study of 50 definitions he collected, Rhodes i
(1961) concluded that it w as possible to group th e m into four c la s s e s:
(1) p e rs o n , (2) p r o c e s s , (3) in te rac tio n betw een p e rs o n and e n v iro n
m e n t, and (4) products.
In stru m e n tatio n is one step that is e s s e n tia l in giving o p e r a
tional m eaning to the concept "cre a tiv ity ." With the m any different
testing p ro c e d u r e s , the developm ent of tests that a re grounded in an
adequate th e o re tic a l m odel with known factor loadings will provide an
opportunity for se cu rin g reliab le m e a s u r e s . R eliability is a p r e r e q u i
site to valid testin g (C ronbach, I960: A n a sta si, 1967).
The im p o rta n c e of m e a s u rin g creativ ity is m o r e and m o re e v i
dent as we see r e s e a r c h e r s attem pting to study and m e a s u r e the c r e
ative p ro c e s s . As yet, th e re is no generally accepted definition of
what c re a tiv ity is, no a g re e d upon reliab le m e a s u r e s of creativity, and
no accepted th eo ry u n d er which c re a tiv ity r e s e a r c h can be grouped and
u n derstood (Dellas and G a ie r, 1970).
A n d e rso n (1959) review ed som e in te restin g definitions sug
gested by perso n ality th e o ris ts :
E r ic F r o m m : "The ability to see (or be aw are) and to respond"
(p. 44).
Rolo May: "The p r o c e s s of m aking o r bringing into being" (p. 58).
C a rl R o g ers: "The e m e rg e n c e in action of a novel rela tio n a l
product, grow ing out of the uniqueness of the individual on
the one hand, and the m a t e r i a ls , events, people o r c i r c u m
stan ces of his life on the o th er" (p. 71).
H e n ry A. M u rra y : "The o c c u rr e n c e of a com position which is
both new and valuable" (p. 87).
H arold D. Lasw ell: "The disposition to m ake and to recognize
valuable innovations" (p. 99).
T ay lo r (1964, pp. 2-9) h as also collected som e definitions which
are a' little m o re operational in n ature:
Ghiselin: "The m e a s u r e of a c re a tiv e product is the extent to
which it r e s t r u c t u r e s our u n iv e rs e of understanding. "
Lacklen: "The extent of the a r e a of science that the contribution
u n d e rlie s . "
S p re ck e r: "The novelty and the value of the scientific idea."
Stein: "A p r o c e s s is c re a tiv e when it re s u lts in a novel w ork
th at is accepted as tenable o r useful or satisfying by a group
at som e point in tim e . "
T hese definitions r e p r e s e n t the d iv e r s e p ictu res which people have of
creativity.
In 1953, M organ published 25 definitions of creativity that he
culled f ro m the lite ra tu re . About the only thing agreed on at the tim e
was that c re a tiv ity involved the developm ent of som ething unique. The
m ain a r e a of d is a g re e m e n t w a s, and to som e extent continues to be, j
unique to whom ?
Som eone m ight ask, why so m u ch in te re s t in c re a tiv ity ? In the ,
past, intelligence te s ts have been u se d in a variety of ways to p re d ic t
both a c ad e m ic and occupational s u c c e s s . The " c la s sic " study by G etzels
I
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and J a c k s o n (1962) at the U n iv e rsity of Chicago provides us with a clue |
i
as to why c re a tiv ity m ay be an im p o r ta n t f a c to r in u n d e rs ta n d in g m en ta l!
growth and developm ent. In th e ir study, they hyp o th esized that th e re
are many d iffe re n t kinds of giftedness and that two of th e se m ight be
designated a s c re a tiv ity and intelligence. They u se d the sam ple of
nearly 500 students in a private secondary school w here they a d m in is
tered intelligence te s ts and creativity t e s ts . Then a "high creativity
group" and a "high intelligence" group w e re s e le c te d by taking those
who w ere at the top 20 p e rc e n t in a s e r i e s of te s t s believed to m e a s u re
creativity, but not in the top 20 p ercen t of the intelligence te s t for one
group; and by taking th o se who w ere in the top 20 p e rc e n t on in te lli
gence, but not in the 20 top p e rc e n t on c re a tiv ity for the o th er group.
The ave ra g e IQ of the students fro m which the groups w e r e selected
was 130. T h e se two g ro u p s w e re then c o m p a re d on the following f a c
tors: school a c h ie v e m e n t, prefe re n c e by t e a c h e r s , p e rs o n a l quality
preference of the s u b je c ts, th e ir own p e rc e p tio n s of p e rs o n a l qualities
im portant fo r adult s u c c e s s and for pleasing t e a c h e r s , and writing
styles. T h e ir findings did suggest that th e re w as a difference betw een
people who a r e highly c re a tiv e and people who a r e gifted.
This study was se v e re ly c ritic iz e d on conceptual and m e th o d
ological g ro u n d s, as s u m m a r i z e d in the following s ta te m e n t by deM ille
and M e rrifield :
M inor e r r o r s , a m b ig u ities, and in co n siste n c ie s in text and
tables a r e freq u en t enough to cause the r e a d e r to q u e stio n the care
with which the study w as done. The groups of su b jects fluctuate
in size f r o m c o m p a ris o n to co m p a riso n , and the r e a s o n s giv< u do
not alw ays s e e m e n tire ly a p p ro p riate . H ow ever, it is not the little
in co n siste n c ie s that m ak e this a r e m a r k a b le piece of r e s e a r c h .
It is the bald m a n n e r in which incom patible and in ap p ro p ria te
p ro c e d u re s have been m ix e d into a m uddle whose m eaning is
larg ely in co m p reh e n sib le , whose rele v a n c e is frequently doubtful,
and w hose effect m o re often than not is to e x a sp e ra te the expert
and lead the lay m an a s tr a y . (1962, pp. 807-808)
H ow ever inadequate this study was, it as well as o th e r s helped m o ti
vate f u rth e r r e s e a r c h into the relatio n sh ip betw een c re a tiv ity and
intelligence.
The work done by M e tfe ss e l and a s so c ia te s in P r o je c t P otential
h a s suggested that m e a s u r e s of creativ ity m ay provide a m o re " c u l
tu ra lly f a ir " form of testin g than tra d itio n al ach iev em en t and in telli
gence te s t s (R is s e r, 1966). In one study by Fox (1967), the G roup T e s t
of C reativity being developed by the staff at P r o je c t Potential was found
to im p ro v e the prediction of s u c c e ssfu l p e rfo rm a n c e for groups of
"cu ltu ra lly disadvantaged" students attending a com m unity college.
Throughout h isto ry m an y significant contributions have been
m a d e to the w elfare of m ankind by people who have been co n sid ered
c re a tiv e . Since c re a tiv e p roductions can add to m a n 's w e lfare, t e a c h
ing students to be c re a tiv e h a s becom e an im p o rta n t c o n c ern of e d u c a
tional p sychologists. E x a m p le s of th is can be found in the w orks of
E. P. T o r ra n c e (1962) and Sydney J. P a r n e s (1967). Some c ritic s have |
suggested that th e re is a g r e a t deal m o r e cre a tiv ity d e m o n s tra te d by
school age children early in th e ir educational e x p e rien c e , but this
j
grad u a lly declines throughout th eir y e a r s in school (P u ls ife r, 1967). !
8
O th e rs suggest that this d rop is due to d ev elo p m en tal changes (Wilt,
1959).
E. P. T o r ra n c e has m ade extensive studies of creativity and
tak e s a strong stand favoring the tra in in g of c re a tiv e students. Some
additional e m p ir ic a l support for this position can be found in a study by
B erney and R edley (1967). They studied the effects of in stru ctio n s to be
o rig in a l on w o rd a sso c ia tio n tra in in g , and tra in in g in p ro b le m -so lv in g
h e u ris tic s . H e u r is tic s and o riginality w e re m e a s u r e d by two t e s ts fro m
G uilford's o rig in a lity test b a tte ry . The hypothesis that this training
would facilitate p e rfo rm a n c e on th ese te s ts was confirm ed.
F r o m the studies of c re a tiv e individuals at the Institute for
P e rso n a lity A s s e s s m e n t, M cKinnon (1965) h as developed suggestions
for n u rtu rin g c re a tiv ity in young people. He p ro p o se s that this can be
done if students a r e enco u rag ed to build a se n se of identity of purpose
and a drive to a c co m p lish th e ir private goals. T u m in (1954) published
a th e o re tic a l a rtic le in which he proposed five o b s ta c le s to creativity.
T hese included an e x c essiv e question for c e rta in ty , for pow er, for
m eaning, for social re la tio n s , and a pathological re je c tio n of social
I
re la tio n s . T u m in is suggesting that th e re m u st be a balance betw een a
p e r s o n 's e x c e s s iv e dependency and conform ity and his e x c e ssiv e rejec-:
tion of people. Such an idea is c onsistent with m a n y of the self- |
!
fulfillm ent m o d e ls of p e r sonality b ecau se of its e m p h a s is on self- 1
d e v e lo p m e n t. i
P u rp o s e
R ecently se v e ra l a tte m p ts to develop m o re adequate m e a s u r e s
of c re a tiv ity have been m ad e by M e tf e s s e l and the staff of P r o je c t P o
tential. One such a tte m p t has b e e n the developm ent of an Individual
T e s t of C reativity ( R is s e r , 1966). This r e s e a r c h will atte m p t a s t a
tis tic a l evaluation of the Individual T est of C reativity developed by
M e tfe s s e l and R i s s e r in the following way:
1. A fac to ria l analysis of test ite m s.
2. M a rk e r te s t fa c to ria l validity using six of G uilford's
S tru ctu re of Intellect te s ts .
3. An analysis of su b te st in te rc o rre la tio n s .
4. A study of t e s t - r e t e s t reliab ility of F o r m s A and B.
5. An analysis of d is c rim in a n t validity is m ade by m e a n s of
c o rre la tio n s with tra d itio n a l m e a s u r e s of intelligence,
g rad e point a v e ra g e , and achievem ent te s t r e s u lts .
6. D escrip tiv e s ta tis tic s with m e a s u r e s of c e n tral tendency,
v ariability, and s ta n d a rd s c o r e s is p rese n ted .
A D e sc rip tio n of the Individual T est of C reativity
The Individual T e s t of C reativ ity ( ITOC) w as developed along
the lines of the W echsler Intelligence Scale in which su b te sts a re
grouped into a V erbal and P e r fo r m a n c e b a tte ry and com bined into a
to ta l te s t s c o re for the full scale IQ. The ITOC w as designed to m e a
s u re d iv erg e n t abilities. It is divided into a v e rb a l and p e rfo rm a n c e
p a r t with each p a rt having six su b te s ts. Two f o rm s of the te s ts with
g e n e ra lly c o m p a rab le ite m s have been p re p a re d . The originaL_de.vel.-_.
10
opm ent of this in stru m e n t was done by John J. R i s s e r un d er the s u p e r
vision of Newton M e tfe ss e l with the help of the P r o je c t Potential staff.
It was developed in conjunction with two o th e r te s ts rela tin g to c r e a
tivity by M e tfe ss e l, one titled The C h ild re n 's Individual T est of C r e a
tivity (CTIOC), and the other The G roup T e s t of C reativ ity (GTOC).
Definitions of T e r m s
T e r m s u sed in this study a r e operationally or conceptually
defined a s follows:
C re a tiv ity . - -O perationally defined a s a c h a ra c te r is tic re la te d to
s c o re s obtained on the Individual T e s t of C re a tiv ity .
In te llig e n c e . - -A standard s c o re obtained on a sta n d a rd iz e d test
of intelligence.
S ensitivity to P r o b le m s . - -T h is t e r m r e f e r s to the ability to
recognize p ra c tic a l p ro b le m s that m ight be encountered in pe rfo rm in g
som e ta s k o r in using som e com m o n tool.
Ideational F luency. - -The ability to g e n e ra te ideas that fit into a
specific c la s s w hen quantity and not quality is im p o rtan t.
I
F lexibility (Adaptive).- - T h e ability to change o n e 's m en ta l set
in o rd e r to suggest new m ea n in g s, in te rp re ta tio n s , or u s e s of j
som ething. i
11
O riginality. - -The ability to give c le v e r, uncom m on, o r im a g
inative r e s p o n s e s .
E la b o ra tio n . - -The ability to supply detailed steps of a plan.
Re -definition. - - The ability to see the draw ings of objects in
d ifferent w ays.
Since the S tru c tu re of Intellect is the m odel on which the Indi
vidual T e st of C reativ ity is based, G uilford's fa c to ria l designations for
the creative abilities a re given as follows:
G uilford's S tru c tu re of Intellect (SI)
1. Cognitive Sem antic Im plication (CMI)
2. D iv e rg e n t P ro d u ctio n of Sem antic R elations (DMR)
3. D iv e rg e n t P rodu ction of Sem antic Units (DMU)
4. D iv e rg e n t P ro d u ctio n of Sem antic C la s s e s (DMC)
5. D iv erg en t P ro d u ctio n of Sem antic T ra n s f o r m a tio n s (DMT)
6. D iv erg en t P ro d u ctio n of Sem antic Im plications (DMI)
7. D iv erg en t P ro d u ctio n of F ig u ra l T r a n s f o r m a tio n s (DFT)
8. D iv e rg e n t P ro d u ctio n of F ig u ra l Units (DFU)
9. D iv e rg e n t P rodu ction of F ig u ra l Im plications (DFI)
10. D iv erg en t P ro d u ctio n of F ig u ra l S y stem s (DFS)
11. Convergent P ro d u ctio n of F ig u ra l T r a n s f o r m a tio n s (NFT)
The following definitions of th ese fa c to rs have been adapted
f r o m R i s s e r (1966):
i
i
1. CMI. This r e p r e s e n t s the ability to see p ro b le m s o r incon- j
g ru itie s in a plan or s y ste m , such as to be able to state the
p ro b le m s that m ay be involved in digging a hole, or to point
■ ' ' " ' 12 1
out incongruities in a p ic to ria l scen e of com plex a c tiv itie s.
2. D M R . This r e p r e s e n ts the ability to think of m any things
that have a relatio n sh ip to som e designated specification
o r object.
3. DM U. This r e p r e s e n ts the ability to generate m any ideas
when the quantity of id ea s is the only concern, such as
being able to state the m an y u s e s for a m agazine.
4. P M C . This r e p r e s e n ts the ability to produce a n u m b er of
ideas of different kinds when th is is n e c e s s a ry to the s o lu
tion of the p roblem , such as to n a m e different kinds of
u s e s for a pencil, or to u se sim ple figural draw ings in d if
fe re n t ways and with d ifferen t m ea n in g s to m ak e an o rig in a l
draw ing.
5. D M T . This r e p r e s e n t s the ability to give c le v e r o r u n c o m -
on re s p o n s e s , such as to a s c r ib e a clever r e m a r k to a c a r
toon c h a ra c te r , o r to c o m m u n ic a te an idea with sy m b o ls,
o r to m ake som ething o rig in a l with a ball of clay, som e
pipe c le a n e rs , and two popsicle sticks.
6. DMI. This r e p r e s e n ts the ability to produce the details
th at will contribute to the s u c c e s s fu l execution of an idea
o r a plan, such as to s u g g e st the things that m u s t be done I
i
to plan a play. '
i
7. D F T . This r e p r e s e n t s th e ability to use sim ple figural |
d raw ings in m a n y d ifferent ways.
8. DFU . This r e p r e s e n t s the ability to produce m any ideas
where the quantity of ideas is the only m a tte r of concern,
such a s to m ak e draw ings of as m any things as possible,
each containing a c irc le .
9. DFI. This r e p r e s e n t s the ability to add d etails to a given
line to m ake a m eaningful drawing.
10. DFS. This r e p r e s e n t s the ability to m ak e som ething o r i g
inal w ith raw m a t e r i a l s , such as a ball of clay, two pop-
sicle stic k s , and a pipe cleaner.
11. NFT. This r e p r e s e n t s the ability to give up o n e 's p e r
ceived org an izatio n of a visual p a tte rn in o r d e r to see
a n o th e r, such a s seeing an im a ls cam ouflaged by the design
in a c om plex p ic to ria l scene.
A ssu m p tio n s
1. The Individual T e st of C reativity is a s s u m e d to be a m e a
s u re of c re a tiv e p ro d u ctio n s.
2. It is a s s u m e d th a t c re a tiv ity is an in te lle c tu a l factor that
is s e p a r a te , although not negatively c o rre la te d with intelligence.
3. When various t e s ts of intelligence a r e given a com m on
m e a n and a com m o n s ta n d a rd deviation, they provide u s with a c o m
pa ra b le and valid m e a s u r e of intelligence.
4. It is a s su m e d th a t c re a tiv ity is a t r a i t which is c h a r a c t e r
istic to a g r e a t e r or l e s s e r d eg ree of all people of at le a s t a v e ra g e
intelligence o r above.
5. An Individual T e s t of C re a tiv e A bilities given by a p s y c h o
logically tra in e d e x a m in e r will provide a m o re valid and re lia b le t e s t
than a t e s t given in a g ro u p form .
6. It is also a s s u m e d that the distinction betw een v e rb a l and
p e rfo rm a n c e ite m s will provide a m eaningful in te rp re ta tio n of c re a tiv e
ability, providing m o re inform ation than a single te s t of c re a tiv ity with
any individual total s c o re being given.
L im ita tio n s and D elim itations
The following lim ita tio n s and delim itations apply to th is study:
1. While it is a s s u m e d that the Individual T e s t of C re a tiv ity
does m e a s u r e c re a tiv ity , no attem pt will be m ade to a s s e s s the p r e
dictive validity of this te s t.
2. Although th e r e a r e m any known socioeconom ic, r a c ia l, and
subgroups to be found in a la rg e u rb an population, th e r e was no attem pt
in this study to a s s e s s the r e p r e s e n ta tiv e n e s s of its sa m p le .
3. T his study w as lim ited to a population of v o lu n te e r high
school and college students. These su b jects w e re found in th e southern;
i
I
p ortio n of the County of L o s A ngeles. I
15
O rganization of R em aining C h ap ters
A re v ie w of the lite ra tu re covering c re a tiv ity and its m e a s u r e
m ent is p r e s e n te d in Chapter II. In addition, a rev ie w of se v e ra l of
the th e o r ie s about the nature of creativ ity is p rese n ted .
The design of the study, including the in stru m e n ts used, is
p re s e n te d in C hapter III.
In C hapter IV, the findings a r e r e p o rte d and d isc u sse d . The
s ta tis tic a l tr e a tm e n t of the Individual T e s t of C reativity is d e scrib ed
and ta b le s a r e provided.
In C hapter V, the final c h a p te r, a s u m m a ry of the r e s u lts is
m ade, and conclusions and re c o m m e n d a tio n s for fu rth e r r e s e a r c h a re
also provided.
C H A P T E R II
REVIEW O F THE L ITER A TU R E
In the twenty y e a r s since Guilford pointed to the n eglect by
psychologists to in v estig a te the a r e a of c re a tiv ity , th ere has been a
rapid growth in r e s e a r c h into this field. The purpose of this chapter
is to review som e of the m o r e significant r e s e a r c h and th e o re tic a l dis
c u ssio n s concerning c re a tiv ity . The s e a rc h m odel used to review the
lite r a tu r e was as follows:
1. C reativity: P r o b le m s in definition and th eo ry .
2. Cognitive c h a r a c te r is t ic s of the c re a tiv e individual.
3. R elationship betw een creativity and intelligence.
4. Cognitive p r o c e s s e s used in c re a tiv e production.
5. P e rso n a lity and m otivational c h a r a c te r is tic s of the
c re a tiv e p e rso n .
P a r tic u la r e m p h a sis w as placed upon r e s e a r c h th a t studied the m e a
s u re m e n t of the c re a tiv e individual and d e s c rib e d his c h a r a c te r is tic s .
Also, im portance was given to d isc u ssio n s that c o n c ern e d the th e o re ti
cal form ulation of c re a tiv ity .
16
17
C reativity: P r o b le m s in Definition and Theory
Twenty y e a r s ago, M organ published an a rtic le in which he
identified 25 definitions of creativ ity that he had taken fro m the l i t e r a
tu re . About the only thing a g re e d upon at that tim e was th a t c re a tiv ity
involved the developm ent of som ething unique. In this a r e a , th e re
s e e m s to be no a g re e m e n t. Rhodes (1961) r e p o rte d a study in which he
collected 50 definitions of c reativ ity . It would s e e m that in the s u c
ceeding y e a r s , our knowledge of creativ ity has in c re a s e d and our
a g re e m e n t d e c re a s e d . In the definitions of c re a tiv ity , t h r e e things
s e e m to be of concern: p e rs o n , product, and p ro c e s s .
C h a r a c te r is tic s of the personality of an individual have an
im p o rtan ce in c reativ ity . The actual intellectual o r cognitive abilities
and styles which an individual u se s in the developm ent of som ething
c re a tiv e s e e m to be another a r e a of c o n c e rn that is included in the
definitions of what is c re a tiv e . The product produced by th e c re a tiv e
p e rso n is also used a s the b a s is for the definition of what cre a tiv ity is.
One of the m a jo r p ro b le m s h e r e c e n te rs around to what extent this
product is actually of value and to whom it should be of value. C a rl
R o g e rs has stated that the product need not be evaluated a s being good \
o r bad, and that it a lso does not need to be accep ted by any p a rtic u la r !
group (R o g ers, 1959). H ow ever, a c r i t ic is m of th is position could be ‘
m ade since it allows anything a p e rso n p roduces to be c o n s id e re d j
I
c re a tiv e . j
18
In an o th er study, Newell, Shaw, and Simon (1963) attem pted
to develop a se t of c r i t e r ia with which to define creativity. T heir
c r i t e r ia w e re as follows:
1. The product of thinking has novelty and value (either for
the thinker or his culture).
2. The thinking is unconventional in the sense that it r e q u ir e s
m odification o r reje ctio n of prev io u sly accepted ideas.
3. The thinking r e q u ir e s high m otivation and p e rs is te n c e ta k
ing place either over a c o n sid e rab le span of time (continu
ously o r interm ittently) or at high intensity.
4. The p ro b le m as initially posed was vague and ill-defined so
that p a rt of the task w as to fo rm u la te the problem itself.
Som e of the e a rlie s t theorizing about creativ ity goes back to
the w ork of Sigmund F reud (Hall and Lindzey, 1957). F re u d felt that
the Ego has the responsibility to p revent a s o c ia l, instinctual im p u lse s
fro m becom ing conscious, but at the sa m e tim e in som e form m eeting
the needs of the individual in such a way th at he does not ex p e rien c e a
sense of guilt or punishm ent. Sublim ation aids in this p ro c e s s by
t r a n s f e r r i n g the instinctual d riv e s into d ire c tio n s in the environm ent
that a r e socially accep tab le. The c re a tiv e p e rs o n tends to be turned
away from rea lity and tow ard a fantasy w orld w h e re he can give full
play to his in stin ctu a l w ishes. T his F r e u d has called r e g r e s s i o n in
s e rv ic e of the ego.
19
Otto Rank, one of F r e u d 's d iscip les, w as one of the p sy c h o
a n aly sts who w as m o s t concerned about creativity. R a n k 's basic
concept of p e rso n a lity focused on the in te rac tio n betw een two opposing
fears: fe a rs which he saw a s innate. One he titled the "life f e a r " and
the other he titled the "death fear. " The life fe a r is of sep aratio n and
independence. He re la te d this to the b irth t r a u m a , of being b o rn into
the w orld and o n e 's beginning sense of isolation. The death fe a r is
rela te d to the fea r of dependency o r loss of individuality and identity.
The conflict betw een these two f e a r s and its ultim ate resolution is
seen as a b a sis for p e rso n a lity developm ent. "W ill" and "guilt" w ere
two o ther of R a n k 's concepts. "Will" is rela te d to o n e 's sense of
s ep aratio n and is seen as the organizing and integrating force of the
self. If it is w e ll-d e v elo p e d , it co n tro ls, inhibits, and u s e s creatively
the instinctual d riv e s of the p erson. "Guilt" a r i s e s out of e x p e r i
encing c o u n te r-w ill on the p a rt of the child against the will of his
p a re n ts. C o u n te r-w ill inhibits the developm ent of the se lf and tends
to m ake the child m o r e dependent upon his p a re n ts . Rank felt that the
highest level of developm en t o c c u rre d when the individual was able to
achieve an independent " w ill," reso lv e his guilt feelings, and achieve
com plete integration of his personality. This he called the c reativ e
type, o r the a r t i s t (Rank, 1945).
A lfred A d le r, who w as at one tim e a disciple of F re u d and,
like Jung, broke fro m the teachings of his m e n to r and m oved off to
20
th eo rize som ew hat differently. In re c e n t y e a r s , p e rs o n a lity th e o ris ts
have begun to pay m o re attention to so m e of A d le r 's w ritings. The
e s s e n c e of p e rso n a lity , acco rd in g to A d le r, was the c re a tiv e self
which was unique for each p erson. He felt that each p e rso n developed
a style of life. F o r A dler, one's style of life was a product both of
o n e 's instincts and o n e 's e x p e rie n c e s in childhood. In this way, he
e m p h a size d the im p o rtan ce of the e n v iro n m en t in the developm ent of a
personality. One of his styles of life he d e s c rib e d a s the active, c o n
stru c tiv e p e rso n a lity . This p e rso n m o s t r e s e m b le s the creative p e r
son as we would d e sc rib e h im today.
A nother of the g r e a t p sychoanalysts was C a rl Jung. In J u n g 's
m any and prolific w ritin g s , he touched upon the issue of creativity
frequently. B asically , he was like F re u d in that he e m p h a size d the
m otivational force fo r creativity as com ing fro m innate and instinctual
s o u rc e s . He felt th at the fo rc e s producing c re a tiv ity w ere derived
f ro m the collective unconscious (Hall and Lindzey, 1957).
C o n te m p o ra ry s e lf -th e o ris ts , such as C arl R o g e rs and
A b ra h a m M aslow have suggested that cre a tiv ity r e s u lts fro m the
rea liz a tio n of an individual's unique se n se of self. They both tend to
see the c re a tiv e p e rs o n as being the hig h est in the h ie r a r c h y of h u m an
developm ent and see his c re a tiv e a b ilities o r p roducts as resu ltin g
f ro m the actu alizatio n of h is unique innate potentialities (Maddi,
1967).
21
C h a m b e rs (1969) has suggested a m ultidim ensional theory of
c re a tiv ity that includes p erso n ality , m otivational, and intellectual
c h a r a c te r is t ic s . He states:
C reativity is defined a s a m u lti-d im e n sio n a l p ro c e s s of
in te rac tio n betw een the o r g a n is m and its en v iro n m en t, which
r e s u lts in the e m e rg e n c e of new and unique products. The th re e
m ain dim en sio n s of creativ ity being level, field, and type.
(C h a m b e rs , 1969, p. 779)
In his d isc u ssio n of c re a tiv ity , he develops twelve hypotheses to
account for the what, why, and how of creativity.
H ypothesis I
The basic m otivation for c re a tiv e behavior lies in the genetic
s tr u c tu r e of the p e rs o n and is elicited by the novelty of his e n v ir o n
m ent. The novelty of his en v iro n m en t leads to exploring and m a n ip u
lating which is in itse lf satisfying.
H ypothesis II
T h e re a r e m ultiple b a s e s for the developm ent of strong
m otivation for h igh-level c re a tiv ity in adults, a ris in g fro m
fa c to rs such a s the drive for m a s t e r y , b a sic in se c u ritie s ,
curio u sity , riv a lry , etc. (C h a m b e rs , 1969, p. 787)
This hypothesis is in re sp o n se to m any a r e a s of r e s e a r c h which have
suggested that a v e ry com plex p a tte rn of p e rso n a lity v a ria b le s m ay
contribute to the m otivation for being c re a tiv e .
22
H ypoth esis III
H e re C h a m b e rs suggested that m ental health had little effect
on one's c r e a tiv e n e s s , provided that "ego control" is m aintained.
H ow ever, he did not exclude the possibility that m en ta l health was
one of the b a s e s for m otivation to be c re a tiv e .
H ypothesis IV
In this h y p o th esis, C h a m b e rs suggested that a m in im u m level
of divergent thinking abilities was e s se n tia l for c re a tiv e production.
He felt that beyond this floor th e re was little re la tio n sh ip betw een the
level of d iv erg e n t thinking ability and the level of c reativ ity . He
m ade the distinction betw een level and field in which he suggested that
d ivergent thinking abilities w ere of g re a te s t im p o rta n c e at the high
levels of c re a tiv ity , but a p p e are d equally of value to all fields.
H ypothesis V
In addition, as his fifth hypothesis, he suggested that a m in i
m u m level of c o n v e rg e n t thinking abilities was e s s e n tia l for the
creative product. Beyond this he felt that th e re w as no relatio n sh ip
betw een the level of creativity.
H ypothesis VI
A m in im u m level of special abilities is e s s e n tia l for c re a tiv e
production in c e rta in fields.
23
H ypothesis VII
A strong ego, a p re fe re n c e for com plexity, a e sth e tic s e n s i
tivity, and flexibility in thinking a re all e s se n tia l p e rso n a lity t r a its for
cre a tiv e w ork, r e g a r d le s s of level, field, or type.
H ypothesis VIII
Six o th er perso n ality tra its a r e e sse n tia l for high level c r e a
tive productivity: initiative, dom inance, in tro v e rsio n , independence,
p e r s e v e ra n c e , and a striving for excellence.
H ypothesis IX
Flexibility in thinking is the m ain factor differentiating high
c reativ ity fro m low c re a tiv e w orks of equally productive p e rs o n s .
The next group of hypotheses relate to how c reativ e behavior
does o c c u r.
H ypothesis X
The c re a tiv e p r o c e s s c o n sists of (a) an exploration of the
enviro nm ent, (b) an "inw ard turning" and concentration on a sso c ia tio n
of prev io u sly internalized stim uli, (c) a m anipulation of the e n v iro n
m ent (to produce the product) with frequent c o m p a ris o n s of the product
a g ain st both in te rn a l and e x te rn a l c r ite r ia .
24
H ypothesis XI
Too little stim ulation or lack of stim ulation in b re a d th in e a rly
liv es, o r a lack of stim u latio n in depth in later lives of p e rs o n s , will
significantly affect the c re a tiv e p r o c e s s in the adult life in a negative
m a n n e r .
H ypothesis XII
A continuation of stim ulation of a broad nature f ro m late a d o
le sc e n c e on will re s u lt in com peting or d istrac tin g stim uli being i n tr o
duced into the c re a tiv e p r o c e s s in the adult lives of p e rs o n s , and will
significantly affect the p r o c e s s in a negative m an n e r.
This probably r e p r e s e n t s one of the m o st e la b o ra te th eo re tic al
form u latio n s about cre a tiv ity since the e a rly w ork of Guilford and his
a s s o c ia te s . In his a p p ro a c h , C h a m b e rs has attem pted to introduce a
s e t of h y p o th ese s which include m o st of the c o n te m p o ra ry r e s e a r c h
about cre a tiv ity . T hese h ypotheses cover the wide range of studies
that have been done on c re a tiv ity involving the p e r s o n 's m otivation,
the types of a b ilities, how c re a tiv ity develops, the types of p roducts,
and the m a n n e r in which they are g e n e ra te d . One of the im p o rta n t
distinctions th at he h a s m ade is the distinction betw een level, field,
and type. L evel r e p r e s e n ts the extent to which the c re a tiv e product
r e s t r u c t u r e s our u n iv erse of u n d e rs ta n d in g and s e rv e s a s a b a sic
guideline for d e te rm in in g the level of the c re a tiv e product. Field is
the m ed iu m in which the creative p r o c e s s o c c u rs; thus, creativity m ay
o ccur in the a r t s , s c ie n c e s , b u sin e ss, in te r p e r s o n a l rela tio n sh ip s,
etc. Types of c re a tiv ity occur in th re e m a in d im ensions: (1) th eo
re tic a l c re a tiv ity , (2) developm ental c re a tiv ity , and (3) scholarly
creativity.
M ednick and M ednick (1965) have developed a theory of c r e a ti v
ity titled "The A sso ciativ e B asis of the C re a tiv e P r o c e s s . " They d e
fine c re a tiv ity in the following way: The fo rm in g of a sso c ia tiv e e l e
m en ts into new com binations which e ith e r m ee t specified re q u ire m e n ts
or a re in som e way useful. The m o re m utu ally re m o te the e le m en ts
of the new com bination, the m o re c re a tiv e the p r o c e s s or solution.
They go on to d istin g u ish betw een c re a tiv e thinking and originality.
They m ake this distinction on the b a sis that c re a tiv e thinking involves
the im position of r e q u ir e m e n ts . The b a s ic r e q u ir e m e n t that they feel
m u st be im posed to m ak e som ething original and c re a tiv e is that it is
useful. The p r o c e s s of achieving the c re a tiv e solution involves th re e
e le m e n ts. The f ir s t is serendipity, that is, a s o rt of creative solution
by accident. S im ila rity is a p r o c e s s in which a sso c ia tiv e e le m e n ts
m ay be evoked as a r e s u lt of their s im ila rity to som e p a rtic u la r s t i m
uli at hand. This m ethod of a c re a tiv e solution is often encountered in
cre a tiv e w riting, such as in poetry. The third m ethod is m ediation.
M ediation is d e s c r ib e d as "the req u isite a sso c ia tiv e e le m e n ts m a y be
evoked in contiguity through the m ed iatio n of c o m m o n e le m e n ts . " This
type of p r o c e s s is probably m o st s im i la r to the c re a tiv e w o rk s of
m a th e m a tic ia n s in which m a th e m a tic a l sym bols and th e ir a s su m p tio n s
m ay be a s so c ia te d with o th er m ediational p r o c e s s e s com ing together to
produce a new m a th e m a tic a l th eo ry . The M ednicks then go on to s u g
gest a b a s is fo r individual d iffe re n c es in the probability of achieving
c re a tiv e solutions. The need for a sso c ia tiv e e le m e n ts was th e ir f ir s t
re q u ire m e n t. They felt that an individual without a p r e r e q u is ite of
past e x p e rie n c e will not have the basic asso c ia tiv e e le m e n ts to a r r i v e
at a p a r tic u la r c re a tiv e solution. F o r instance, an a r c h ite c t who does
not know the ex iste n ce of a new m a t e r i a l can h a rd ly be expected to use
it c o rr e c tly . A sso c ia tiv e h i e r a r c h y r e p r e s e n ts another m e a n s of |
i
distinguishing individual d iffe re n c es. In this, they suggest that the
i
way an individual h as org an ized his a sso c ia tiv e e le m e n ts will influence'
the probability and the speed of solution in the c re a tiv e p r o c e s s . j
!
i
B ased upon this th e o ry , the M ednicks go on to develop th e ir test of j
I
c re a tiv ity called The R em ote A s s o c ia te s Test. This th e o ry h a s
been c ritic iz e d on the b a sis that th e ir te s t of c re a tiv ity m a y m e a s u r e I
!
j
convergent abilities m o r e than d iv erg e n t (Dellas and G a ie r, 1970). j
One of the m o r e im p o rtan t studies into the c re a tiv e p r o c e s s
was u n d e rta k en at the Institute of P e r sonality A s s e s s m e n t and R e s e a r c h
! I
| at the Unive rs ity of C alifornia, B e rk e le y . It would be an o v e rs ig h t j
not to p r e s e n t their definition of c re a tiv ity that re s u lte d fro m six y e a r s
of r e s e a r c h into the subject. M acK innon s u m m a riz e d th e ir definitions
by stating:
It involves a r e s p o n s e that is novel or at le a s t statistically
infrequent. But novelty o r originality of beh av io r, while a
n e c e s s a r y asp ec t of c re a tiv ity , is not sufficient. If a re s p o n s e
is to lay c la im to being a p a rt of the c re a tiv e p r o c e s s , it m u st
be adaptive, or of re a lity . It m u s t s e rv e to solve a p ro b le m , fit
a situation, or a c c o m p lis h so m e recognizable goal. And th ird ly ,
tru e c re a tiv ity involves a sustaining of the o rig in a l insight, an
evaluation and ela b o ratio n of it, and developing it to the full.
(M etfessel, 1967, p. 628)
T his definition e n c o m p a s s e s m any of the cognitive and m otivational
c h a r a c te r is t ic s to be found in the r e s e a r c h on c re a tiv ity to be review ed
next.
Cognitive C h a r a c t e r i s ti c s of the C reative Individual
In the p ast twenty y e a r s , th e re have been extensive in v e s tig a
tions into the cognitive c h a r a c te r is t ic s of c reativ e ab ilities. Guilford
and his a s s o c ia te s w e re e a rly p io n e e rs in the study of c re a tiv e th in k
ing. T h e se m e n set out to study the n a tu re of c re a tiv ity by m e a n s of a
fac to r analytic approach. Am ong the p ro b le m s which Guilford id en ti
fied w e re the following: se n sitiv ity to p ro b le m s, flexibility, o r ig in a l
ity, elab o ratio n , redefinition, a n a ly s is, sy n th e sis, and penetration.
i
In one of the f i r s t studies by W ilson, G uilford, C h riste n s e n ,
and Lew is (1954), fifteen of the tw enty-four h ypothesized intellectual ;
abilities w e re found. Am ong th e s e a r e fluency of thinking (com posed |
of w ord, ideational, e x p re s s io n a l, and a s s o c ia te d fluency) and fle x i
bility of thinking (com posed of spontaneous and adaptive flexibility).
O rig in ality , sensitivity to p ro b le m s , redefinition ability, and
fig u ra l and se m a n tic e la b o ratio n w e re found. Sensitivity to p ro b le m s
was seen a s one of the abilities c h a r a c te r is t ic of the c re a tiv e . The
inventive p e rs o n is seen as especially able to o b s e rv e d eficien cies,
d efects, o r im p e rfe c tio n s in his e x p e rie n c e . Guilford believed this
ability would d e m o n s tra te itself in th re e different ways. He developed
te s t s to m e a s u r e each of them . T his ability h a s been identified by
Guilford and his a s s o c ia te s s e v e r a l tim e s (see R e fe re n c es).
Fluency has been con sid ered an a s p e c t of c re a tiv e ability by
m any d ifferent a u th o rities. F luence t e s ts usually involve sim ple ta s k s
and m o st all of th em have som e tim e lim it. The s c o re is sim ply the
quantity of a p p ro p ria te r e s p o n s e s . No attention is given to quality.
The ratio n ale behind this is that a p e rs o n who can be m o re fluent in a
given period of tim e is, if nothing e ls e , seren d ip itio u sly going to p r o
duce m o r e c re a tiv e r e s p o n s e s . This concept is fundam ental to Alex
O s b o rn 's b r a in s to r m in g technique (O sborn, 1963). Guilford found that
th e r e was not one kind of fluency fa c to r, but th re e . T hese w e re called
w ord fluency, ideational fluency, a s so c ia tio n a l fluency, and e x p r e s
sional fluency. W ord fluency had been found e a r l i e r by T hurstone
(1938). Ideational fluency r e p r e s e n ts the r a te of g e n e ra tio n of ideas.
29
The ideas m ay be s im p le , such a s a single w ord, o r com plex, such
as producing title s for s to r ie s . This ability s e e m s to be d ire c tly
re la te d to p ro b le m -s o lv in g . F o r the p e rso n who can come up with the
g r e a te s t n u m b er of ideas in re la tio n sh ip to a p ro b le m is m o s t likely to
be able to solve it. A sso c ia tio n a l fluency is the ability to lis t w ords
that have som e re la tio n sh ip to a given stim ulus w ord. A sso c ia tio n a l
fluency is im p o rtan t in thinking by analogy. E x p re s s io n a l fluency is
the ability to put w ords into o rg an iz ed p h r a s e s or sen te n c es. T hese
abilities have also been identified in se v e ra l studies (B e rg e r, et al. ,
1957; M e rrifie ld , et al. , 1964 and 1966).
If som eone has the ability to u se a variety of a p p ro a c h e s in
solving a p ro b le m , he is m o re likely to com e up with a new and c r e
ative solution. Guilford te s ts for this ability in a n u m b e r of different
w ays and has identified this ability as adaptive flexibility. Spontaneous
flexibility is seen a s the tendency to ju m p fro m one c ateg o ry to
another even if th e re a r e no in stru ctio n s to do so. The s c o rin g is
alw ays m ade on the b a s is of the n u m b e r of changes and the kinds of
ideas, r a th e r than in the quantity o r quality of the ideas e x p re s s e d .
This ability has been identified in se v e ra l of the studies also.
O riginality has been one of the m o re c o n tro v e rs ia l of the c r e
ative ab ilities. M ednick identified originality as re la te d to s ta tis tic a l
infrequency in o c c u rr e n c e , som ew hat analogous to the definition of
30
o riginal r e s p o n s e s on the R o rs c h a c h . H ow ever, Guilford felt that
originality w ent beyond the unusual or unconventional. S tatistically
infrequent a s so c ia tio n s w ere to include a factor called c le v e rn e s s .
He found that his r a t e r s w e re able to reach fairly good a g r e e m e n t in
sc o rin g te s ts in which the subject had been asked to produce c le v e r
re s p o n s e s . O ther studies found that few er total r e s p o n s e s w ere p r o
duced when subjects w ere a sk ed to be c lev er. In e s s e n c e , when s u b
je c ts w e re told to be clever o r original they took m o r e tim e or w e re
m o re c arefu l in producing th eir re s p o n s e s and, hence, achieved low er
s c o re s on ideational fluency (D ellas and G a ie r, 1970).
The f ir s t elab o ratio n ability facto r was found in a study of
planning by B e r g e r (1957). In this e a rly study, subjects w e re given
one or two lines with which they w ere to m ake a m eaningful o b jec t by
adding lines. The p e r s o n 's s c o re w as dependent upon the am ount of
detail he added to w hat was given. B ecause of the m eaningfulness of
the object to be produced, it could not be decided w hether the factor
w as se m a n tic elab o ratio n or a confounding of se m a n tic and figural
elaboration. L a te r , Guilford, M e rrifie ld , and Cox (1961) developed
two additional figural e la b o ratio n te s ts to see if two fa c to rs could be
found, one fig u ral and one se m a n tic . The finding of an e la b o ratio n al
facto r ( B e r g e r , et al. , 1957) followed the testing of the h ypothesis
th at o rd in a ry planning entails an ability to think of d e ta ils, and the
fa c to rs c e n te re d in two planning t e s t s , one in which the subject is
31
told of a p ro b le m situation that calls for an o rg an ized plan to m e e t
the difficulties, such as how to solve a p ro b le m of low m o ra le in a
m ilita ry installation. In another test, subjects w ere told to add the
detailed ste p s needed to m ake som e p a rtic u la r plan w ork, such as,
"What plans would you need to m ake to take y our c la s s to visit a
f a r m ? "
Guilford a lso felt that the highly c re a tiv e p e rs o n would be able
to see things in w ays that may not be obvious to o th e rs . He believed
the ability to re o rg a n iz e o r redefine is of vital im p o rtan ce in p ro d u c
tive thinking. His p r im a ry basis for this hypothesis was K o h le r's
w ork on the insightful behavior of apes. This ability is divided into
th re e d ifferent p a rts: figural redefinition, sym bolic redefinition, and
se m a n tic redefinition. These r e p r e s e n te d the only convergent types of
ability that have been suggested as being rela te d to c reativ e p ro d u c
tions. The fir s t hint of this factor cam e in T h u rs to n e 's analysis of
what he called p e rc e p tu a l abilities. T e s ts of these abilities have been
d e s c rib e d and found by Guilford and his a s s o c ia te s (Guilford, 1967b).
Synthesis and p en etratio n w ere the two re m a in in g abilities originally
hypothesized by Guilford. So fa r, these abilities have failed to
m a te r ia liz e in a tte m p ts to isolate th em a s se p ara te abilities.
Lowenfeld and B eittel (1959). in an independent study, have
also identified e s se n tia lly the sa m e fa c to rs that Guilford has. They
identified five a ttrib u te s of c reativity: fluency, flexibility, redefinition,
32
sensitivity to p ro b le m s , and originality.
Although the prev io u sly d e s c rib e d abilities contain c o n sid erab le
face validity as m e a s u r e s of c re a tiv ity , the c ru c ia l q uestion re m a in s:
What is th eir c o n s tru c t validity? In a study of a r t and science students
by D revdahl (1956), students w e re ra te d as highly c re a tiv e by indepen
dent judges on p e rs o n a l and objective creativ ity reading sc ale s. T hese
subjects d e m o n s tra te d s u p e rio r p e rfo rm a n c e on G u ilfo rd 's originality
te st, the c o rre la tio n being r = 0. 33 with the ratings of the independent
judges. When d iv erg e n t production s c o r e s of high school students
obtained on G uilford-like te s ts w ere c o rr e la te d with te a c h e r n o m in a
tions for c re a tiv ity , the c o rre la tio n s w e re generally low on the o r d e r
of r = -0 .0 2 (M a rrifie ld , G a rd n e r, and Cox, 1964). In a study of a r c h i
tects judged highly c re a tiv e by e x p e rts in th eir own field, M acKinnon
(1961) found that w h e th e r s c o re d for quality o r quantity of re s p o n s e s ,
the Guilford te s ts n e ith e r c o rr e la te d highly nor p red ic te d efficiently
the d e g re e of cre a tiv ity d e m o n s tra te d in th eir creative, production.
Gough (1961) found s im ila r evidence in a study of r e s e a r c h sc ie n tists. J
T h eir rate d s c o r e s of c re a tiv ity c o rr e la te d low o r negligibly with the
v ario u s Guilford t e s t s used: unusual te s t s c o r r e la te d r = -0. 05; c o n
sequences, r = - 0 .2 7 , and G estalt tra n s fo r m a tio n s , r = 0 .2 7 . A posi-;
I
tive m ultiple c o rr e la tio n of 0. 55 betw een rate d orig in ality and a c o m - j
posite divergent p roduction s c o re was found by B a r r o n (1963) in a
i
group of A ir F o r c e o ffic ers. H ow ever, Elliott (1964) w as able to I
33
d is c rim in a te betw een public re la tio n s p e rso n n e l nom inated by their
s u p e rio rs as high o r low c re a tiv e on the b a sis of eight G uilford-type
te s ts . In a study by R is s e r (1966), using the Individual T e s t of
C re a tiv ity that he had developed, he w as able to distinguish between
two groups of students nom inated by th e ir in s tr u c to r s a s being either
highly c re a tiv e in a r t or highly c re a tiv e in E nglish fro m a sam ple of
31 students in a fre s h m a n college c la s s . Guilford has stated that c o r
re la tio n of d ivergent production te s ts with c r i t e r ia a r e generally m uch
h igher when the c rite r io n is b ased upon som e sta n d a rd iz e d p e r f o r
m an ce. He re p o r ts a study by B a s s , et al. (1967), in which a sm all
group of 21 high school students w ere asked to design an ex p e rim e n t on
t r a n s f e r of training, the p ro d u ct being evaluated. The com posite sco re
f ro m the divergent production te s ts co n seq u e n c e s, unusual u s e s, and
pilot titles c o rr e la te d 0.41 with c rite r io n , which is significant in a
o n e -ta ile d test. In a study using biographical in fo rm a tio n that s tr e s s e d
signs of p revious c re a tiv e p e rf o r m a n c e , significant c o rre la tio n s w ere
found for eleven of the fifteen d iv erg en t production te s t s c o re s
( Z a c c a ria , e t al. , 1956).
The conflicting r e s u lts p re s e n te d in the r e s e a r c h above can be
accounted for in a n u m b e r of w ays. F i r s t of all, th e re is no c o n s is
tency in the c re a tiv e m e a s u r e s being u se d , and a s of y e t this w rite r
has not been able to find a study in which the v ario u s te s ts of c reativ e
ability have been given to the sam e population to a s c e r ta i n if they a re
34
at all m e a s u rin g the sam e ab ilities. Second, the c rite r io n m e a s u r e s
th e m s e lv e s a r e unreliable. Gough (1961) ra te d his sc ie n tists on g e n
e r a l science and r e s e a r c h c o m p e ten c e , m a th e m a tic a l, th e o re tic a l
o rie n tatio n , efficiency in p ro d u c tiv e n e s s , original potential, and
g e n e ra l sophistication. M acKinnon (1964) used the indices of publicity
and p ro m in e n ce plus a five-point s c ale including such ite m s as o r i g i
nality of thinking, constructive ingenuity, and ability to se t aside
e sta b lish e d conventions and p r o c e d u r e s . The differences in these two
e x a m p le s a re obvious, to say nothing of the ambiguity of such t e r m s as
"p ro m in e n c e , " "com petence. " In addition to this, ratings th e m s e lv e s
a r e only as good as the c r i t e r i a u se d for selection, and a r e subject to
such b ia s e s a s halo effect and c r ite r io n contam ination. Y am am oto
(1965) review ed the lite ra tu re on te a c h e r ratings as indicators of
c re a tiv ity , and decided such ra tin g s w e re am ong the le a s t effective
w ays of getting at creativity . D e lla s and G aier have suggested that
d iv e rg e n t production te sts m ay not be suited to the group investigated.
A s an e x a m p le, E llio t's study (1964) c o rr e la te d sem antic te s t s c o r e s
with c r i t e r i a of c re a tiv e p e rf o r m a n c e in college a r t students and did
not find high o r significant c o rr e la tio n s . R e s e a rc h to be review ed
la te r will show that p e rso n a lity and m otivational v a ria b le s a r e a lso
an im p o rta n t factor in the c re a tiv e p e rso n .
As D ellas and G aier (1970) put it:
F u r th e r m o r e , the d iv e rs ity of these in tellectual a s p e c ts of c r e
ativity and the fact that they a re rela tiv e ly distinct com ponents
indicates that p e rh a p s different types of c re a tiv e tale n t exist, the
scientific c re a tiv e probably excelling in different a b ilities fro m
the ae sth e tic c re a tiv e . Consequently, the v e r s a tile , creative
p e rs o n m ay be exception r a th e r than the rule. (p. 57)
R elationship B etw een C reativity and Intelligence
The d r a m a tic and som ew hat c o n tro v e rs ia l study by G etzels and
Ja ck so n (1962) s ta r te d the s e a rc h for the distinction betw een c re a tiv ity
and intelligence. S e v e ra l other in v estig a to rs (Guilford, 1967; T o r
ra n c e , 1962) have been able to m aintain that a valid distinction ex ists
betw een the cognitive function called " c re a tiv ity " and the tra d itio n al
concept of g e n e ra l intelligence. This d istinction is b a sed on " tr a it"
psychology r a t h e r than the "type" psychology u sed by G etzels and
Ja c k s o n (deM ille and M e rrifie ld , 1962). Using the T o r ra n c e T e s t of
C reative Thinking in a rep lica tio n of the G etzels and Ja c k s o n w ork at
the e le m e n ta ry school level, T o rra n c e (1962) obtained c o rre la tio n s
with v a rio u s intelligence te s t s ranging f ro m 0. 16 to 0. 32. In a sam ple
of n e a rly 500 students in se condary school, G etzels and Jackson
a d m in is te re d intelligence te s t s and te s ts of c re a tiv ity . Then a "high
c re a tiv e " group and a "high IQ" group w e re se le c te d by taking the top
20 p e rc e n t on e a ch te s t in such a way that the individuals w ere high on i
i
only one of the two t e s ts . T hese two gro u p s w e re then c o m p a re d ov e r S
a range of educational and p e rso n a l c h a r a c te r is t ic s . T h e ir r e s u lts I
a re now fam ous. One of the m o s t striking findings was that in spite
of a difference of 23 points betw een th eir IQs, the two groups w ere
equally s u p e rio r on objectively teste d school achievem ent. Another
significant finding was that te a c h e r s liked the high IQ group b e tte r than
they did the high c re a tiv e group. In g e n e ra l, G etzels and Ja c k s o n felt
th eir original hypothesis - -that th e re w ere two different kinds of gifted-
n e s s - - w a s supported, and fu rth e r that creativity and intelligence w ere
different fa c to rs. Many c r i t ic is m s of this study have been m ad e on
m ethodological grounds. It would not be a c c u ra te to conclude that
th e re was no c o rre la tio n betw een c re a tiv ity and intelligence when the
two groups w ere se le c te d in such a m a n n e r as to exclude this p o s s i
bility. In a study by W allach and Kogan (1965) som e support for the
s e p ara tio n of creativ ity and intelligence w as provided. Using the c o n
cept of d isc rim in a n t and convergent validity suggested by C am pbell and
F is k (1959), they review ed m any studies that attem pted to o p e ra tio n a l
ize the distinction betw een c re a tiv ity and intelligence. They felt, h ow
e v e r, that good d isc rim in a n t and convergent validity w as not d e m o n
s tra te d . In th eir opinion, fa c to rs of tim e p r e s s u r e , evaluation p r e s
s u re , or both w e re thought to have accounted for this failure. To
study this p ro b le m , they studied a group of fifth grade students in a
rela x ed , nonevaluative a tm o s p h e re with no tim e lim it. In an a n aly sis
of the r e s u lts b a sed on te s ts designed to m e a s u r e G uilford-type f a c
t o r s of cre a tiv ity , it was re v e a le d that c re a tiv ity was strikingly
independent of intelligence. They found that a c o rre la tio n of 0. 5
betw een m e a s u r e s of cre a tiv ity and a c o rre la tio n of 0. 5 betw een f a c
t o r s of intelligence existed, but a c o rr e la tio n of only 0. 1 betw een in te l
ligence and creativity.
Support for this assu m p tio n th a t tim e p r e s s u r e is a factor in the
m e a s u r e m e n t of creativity is found in the w ork of D entler and M ack ler
(1964). They found different am ounts of c re a tiv e production re su lte d
when subjects w e re m ade to feel safe in a five-m inute tim e lim itation
on the T o r r a n c e Tin Can U se s T est.
In a followup study by C ropley and M aslang (1967), fu rth e r su p
p o rt for this distinction was found. They a d m in is te re d the W allach-
Kogan T e s t of C reativity and the P r i m a r y A bilities T est to 207 u n d e r
g ra d u a te s. The creativity t e s t s w e re sc o re d for o riginality, and
the K R -20 reliab ilitie s w ere calculated. The in te rc o rre la tio n s am ong
the five c re a tiv ity te s ts w e re also calculated and c o m p a red with those
am ong the six te s ts of intelligence. The r e s u lts indicated (1) a high r e
liability for the te s ts used; (2) that the creativ ity t e s ts c o rr e la te d highly
am ong th e m s e lv e s ; (3) that the intelligence te s t s c o rr e la te d highly
am ong th e m s e lv e s ; and (4) th a t they c o r r e la te d poorly with each o th er.
In a 1966 study by C ropley, a b a tte ry of th irte e n t e s t s , six c onvergent
and seven divergent, w as a d m in is te re d to 320 seventh g rad e children,
and the d iv e rg e n t te sts s c o re d for originality. The c o rre la tio n s w e re I
I
subjected to p rincipal axis fa c to r a n a ly sis. The r e s u lts indicated th a t the |
38
two la r g e s t fa c to rs w ere defined by convergent and divergent te s ts
resp ectiv ely . T hese fa c to rs w e re subjected to both orthogonal and
oblique ro ta tio n s, and it was found that although the d ivergent te sts
indicated a s e p a r a te fac to r, " c r e a tiv ity ," it showed a significant c o r
relation with the facto r defined by the m o r e n o r m a l te sts of intelligence
am ounting in this study to a c o rre la tio n of +0. 51.
In T o r r a n c e 's study (1962) of e le m e n ta ry school children, he
found c o rr e la tio n s of +0. 16 betw een divergent productions and the
Binet IQ T e st, r = +0. 32 betw een the Otis IQ and d iv erg e n t production
s c o re s , and r = + 0.24 betw een the CTMM and divergent production
s c o re s.
Some w r i t e r s have suggested that fluency defined as the n u m
ber of re s p o n s e s m ay m isleadingly influence both the high c o rre la tio n s
s o m e tim e s r e p o r te d am ong m e a s u r e s of c re a tiv ity and the low c o r r e
lations s o m e tim e s r e p o rte d betw een m e a s u r e s of c re a tiv ity and in te l
ligence. W allach and Kogan (1965), for e x a m p le , cited extensive e v i
dence g a th e red f ro m data p re se n te d in such frequently cited studies as
those of Guilford and C h riste n s e n (1956), W ilson, Guilford, C h r is te n
sen, and Lew is (1954), G etzels and Ja c k s o n (1962), and F le s c h e r (1963)
that so -c a lle d indices of c re a tiv ity in th ese studies c o rr e la te d alm o st
as well with m e a s u r e s of intelligence u sed in the s a m e studies as
they do am ong th e m s e lv e s . M c N e m a r (1964) m ad e a s im ila r c r i t i
cism . C la rk and M ir e ls (1970) a d d re s s e d th e m s e lv e s to this problem .
39
A slightly rev ised v e rsio n of the F ig u re C om pletion T e s t was
a d m in is te re d to 93 students en ro lled in a Saturday a r t c la s s . They
ranged in age f ro m nine to fifteen. T hese s c o re s w e re c o m p a re d with
H enm on-N elson Intelligence T e s t using both raw creativity s c o r e s and
c re a tiv ity s c o re s c o rr e c te d for the effect of fluency. U n c o rre c te d
c re a tiv ity s c o re s i n te r c o r re la te d high among th e m s e lv e s . The m ean
c o rr e la tio n was +0.45. They also c o rre la te d low with intelligence, the
m e a n c o rre la tio n being +0. 49, while the c o rr e c te d c re a tiv ity s c o re s
showed low in te r c o r re la tio n s am ong th e m s e lv e s (m ean r = +0. 08) and
with intelligence (m ean r = +0. 13). T hese findings suggest that the
influence of fluency upon high in te rc o rre la tio n s among s o -c a lle d m e a
s u r e s of creativ ity is high, but it fails to support the suggestion that
fluency m ay also influence low c o rre la tio n s am ong c re a tiv ity and
intelligence m e a s u r e s .
B a rro n (1963) h as suggested that a co m m itm en t to c reativ e
activity is a lre ad y selective for intelligence so that the a v e ra g e IQ is
a lre a d y a su p e rio r one. As M c N e m a r has put it (1964), "at high I. Q.
levels th e re will be a very wide range of c re a tiv ity , w h e re a s as we go
down to the a v e ra g e I. Q. , and on down to low er lev els, the s c a tte r for
c re a tiv ity will be le s s and l e s s " (p. 879).
Calling th is the th re s h o ld concept, G insburg and W ittem ore
(1968) have studied this phenom ena with the R em ote A sso c ia tio n s Test.
"............. ~ .................................... " 40
They c o m p a red the s c o re s on the R em ote A ssociations T e s ts a t d iff e r
ent levels of p e rfo rm a n c e on the ACT T est by 292 Nevada college s tu
dents. They found a lin e a r r e la tio n s h ip in the variance s c o r e s on the
R em ote A sso c ia tio n s T e s ts and the AC T T e s ts . This does not confirm
the suggestion that th e re is a floor intellectual level n e c e s s a r y for
c re a tiv ity , but that as IQ in c r e a s e s , the relatio n sh ip betw een in te lli
gence and c re a tiv ity d e c r e a s e s .
Cognitive P r o c e s s e s U sed in C reative P roduction
One of the in terestin g tre n d s in the r e s e a r c h on the c re a tiv e
p e rso n is the e m e rg e n c e of a sty listic v ariable. The c re a tiv e p e rs o n
s e e m s to p r e f e r a v a rie d , ric h , dynam ic, o r a s y m m e tr ic a l e x p e r i
ence, as opposed to a v e ry sim p le o r s y m m e tric a l kind of e x p e rien c e .
This p re fe re n c e for a p e rc e p tu a l o r a e sth e tic style does not s e e m to be
lim ited to the a rtis tic type only, but is a lso typical of the c r e a to r in
other fields. In a study by Gough (1961) using the re v is e d A rt Scale
of the W elsh F ig u re P r e f e r e n c e T e s t, r e s e a r c h sc ie n tists w e re d e m
o n stra te d to have this cognitive predisposition. M acKinnon (1961)
found the sa m e c h a r a c te r is t ic in c re a tiv e a r t i s t s , and B a r r o n (1963)
in c re a tiv e w r ite r s .
In a study with high school students, E isenm an and R obinson ,
I
(1967) u sed polygons of varying d e g re e s of complexity to m e a s u r e this ,
p re fe re n c e for cognitive com plexity. They used a paper and pencil
i
41
p e rso n a lity m e a s u r e of creativity and r e p o rte d a lack of a significant
c o rre la tio n (r = +0. 14) betw een the Stanford Binet and the Polygon T est
for c re a tiv ity te s t s c o re s . In another study by E ise n m a n , Platt, and
D a rb e s (1968), two te s ts of creativ ity based on this com plexity-
sim plicity p r e f e re n c e style, a tru e - f a ls e p e rso n a lity questionnaire,
and the Stanford Binet Intelligence T e st, and the Stanford A chievem ent
T est Advanced B attery KM-3 w ere a d m in is te re d to 62 high school
students. Six 2 by 2 analyses of v ariance w e re computed for each of
the a c h ie v e m e n t su b te sts with high and low c re a tiv ity and high and low
IQ as independent v a ria b le s. They found a significant relationship
betw een IQ and six of the subtests: p a ra g r a p h m eaning, word m e a n
ing, spelling, language, and a rith m e tic com putation. While creativity
was significantly rela te d to s c o re s on a rith m e tic reasoning, they also
failed to find any significant IQ by creativ ity in teractio n , although m o st
of the su b jects with a low IQ c re a tiv ity s c o re also had the lowest
s c o re s on all of the ach iev em en t subtests.
In view of this type of evidence, the r e v is e d a r t scale would
se e m to be a p ro m isin g nonverbal m e a s u r e of c re a tiv e potential. It
has had a rela tiv e ly consistent s u c c e s s in c o rr e la tin g with other m e a
s u re s of c re a tiv ity , while evidencing n e a r z e ro c o rre la tio n s with m e a
s u re s of intelligence (Dellas and G a ie r, 1970).
42
Another cognitive p ro c e s s that is c h a r a c te r is tic of the c reativ e
p e rs o n is flexibility. P re v io u s ly , G u ilfo rd 's ap p ro a c h to the study of
flexibility w as d e sc rib e d . H ow ever, other investigations into this
a r e a have used an in tr a -p s y c h ic approach. This a p p ro a c h has used
p rim a rily projective m e a s u r e s as the m ea n s of studying the r e la tio n
ships am ong hypothetical m en ta l s tr u c tu r e s . The g e n e ra l conclusions
have been that the c re a tiv e individual as c o m p a re d to the n o n -c re a tiv e
has a g r e a te r availability of both the relatively m a tu re and the r e l a
tively prim itiv e p r o c e s s e s (H ersch , 1962). In H e r s c h 's study, a
group of recognized a r t i s t s w e re c o m p a red with a group of fire m e n ,
s a le s m e n , and s c h iz o p h re n ic s. The a r t i s t s w ere co n sid e red c re a tiv e
individuals, and the fire m e n , sa le sm e n , and sc h iz o p h ren ic s w ere c o n
s id e re d as e ith e r n o r m a l o r n o n -c re a tiv e . B ased on his an a ly sis of
six c a te g o rie s of R o rs c h a c h re s p o n s e s , he felt th at the n o n -cre a tiv e
n o rm a l subjects lacked the ability to function p rim itiv e ly , had rigid,
se lf-lim itin g controls. The c re a tiv e group gave m o re prim itiv e
r e s p o n s e s involving the a sso c ia tio n of affective a ttitudes with se n so ry
stim ulation. In g e n e ra l, he felt that the c re a tiv e people had m o re
flexibile controls which gave th em easy a c c e s s to the m o re p rim itive
type p r o c e s s e s in thinking. This is also som ew hat analogous to the
concept of r e g r e s s i o n in s e rv ic e of the ego. A se rio u s w eak n ess in
this study, how ever, lie s in the fact that the control group is hardly
com p arable to the subjects in the a rtis tic group. In an e a r l i e r study
43
by Myden (1959). the R o rs c h a c h , T hem atic A p ercep tio n T est, and the
Vigotsky Concept F o rm a tio n T e s t w e re used as a b a tte ry designed to
offer clues to the p attern of m en ta l functioning of a g roup of potentially
c reativ e individuals. His r e s u lts also showed a g r e a t e r use of p r i m i
tive p r o c e s s thinking by the c re a tiv e individual.
In the p rev io u sly -m en tio n e d study by M yden, w h ere s c h iz o
p hrenics w e re also used as p a r t of a control group, th e re w as also
evidence of p r im a ry p r o c e s s thinking. The distinction that s e e m s to
be a p p a re n t betw een the p r im a ry p r o c e s s thinking c h a r a c te r is t ic s of a
psychotic and a n o rm a l c re a tiv e individual lies in the c r e a t i v e 1 s ability
to apply control over the p r im a ry p r o c e s s thinking. The im p o rta n c e of
this ego control variable was d e m o n s tra te d in a study by Pine and Holt
(I960). In th eir study of 27 u n d e rg ra d u a te students, the quality of the
su b je c ts' c re a tiv e production was u n rela te d to the am ount of p r im a ry
p r o c e s s e x p re s s io n , but was re la te d to the effe c tiv en e ss with which
the e x p re s s io n was controlled. In a study of u n d e rg ra d u a g e m ale
science m a jo r s designated a s highly creative on the b a s is of G uilford's
te s ts , Garwood (1964) d isc o v e re d th eir re s p o n s e s to the R o rsc h ac h
showed a g r e a t e r integration of nonconscious with conscious m a te r ia l
than did the r e s p o n s e s of the low c re a tiv e group. S im ila r r e s u lts w ere
found by C la rk , V eldm an, and Thorpe (1965).
One g en eral c r itic is m of these types of investigation is the use
of the R o rsc h ac h . T h e re is a larg e body of lite r a tu r e which suggests
44
that the R o rs c h a c h te s t itself h a s not been e sta b lish e d as e ith e r a
reliab le o r valid m e a s u rin g in s tru m e n t. In addition, different scoring
s y s te m s w e re em ployed in the u se of the R o rsc h ac h te s t so that m any
of these studies w ere not n e c e s s a r ily c o m p a rab le in th e ir r e s u lts .
H ow ever, even with these lim itatio n s, the consistency in th eir findings
certain ly suggests that the c re a tiv e individual is able to utilize p r i
m a ry p r o c e s s thinking, that this r e g r e s s i o n is not sym p to m atic of a
loss of ego control, but a p p e a rs to be a p a rt of the c re a tiv e individual's
flexibility in thinking.
A nother type of cognitive p r o c e s s to be exam ined is p erceptual
o penness. P e rc e p tu a l openness r e p r e s e n t s a g r e a te r a w a r e n e s s of
both the outer w orld and the inner self. Although this certainly r e p
r e s e n ts a v e ry subjective concept and would be very difficult to o p e r a
tionalize, th e re is som e e m p ir ic a l evidence suggesting that this is
c h a r a c te r is tic of the creative individual. M endelsohn and G risw old
(1964), using two u n d erg rad u ate psychology students rate d a s high or
low c re a tiv e on the b a sis of the R em o te A ssociations T est, o b se rv e d
that only the high c re a tiv e s used p e rip h e ra l cues effectively in solving
a n a g ra m p ro b le m s. M acKinnon (1961) and Gough (1961) also r e p o rte d
s im ila r type r e s u lts on th eir su b je c ts, utilizing different m e a s u r e s of
creativity. This, how ever, is open to c r itic is m because of the q u e s
tion which h a s been ra is e d about the re la tio n sh ip betw een the R em ote
A sso c ia tio n s T e s t and creativity p rev io u sly cited. In B a r r o n 's
45
studies (1963), o rig in a l p e rs o n s w ere found to r e je c t s u p p re s s io n as a
m ec h a n ism for the control of im p u lses. Since s u p p re s s io n would lim it
a w a re n e ss and op e n n e ss to both internal and e x te rn a l stim uli, its
rejection would m a k e one m o r e perceptually open.
P e rs o n a lity and M otivational C h a r a c te ris tic s
of the C reative P e r s o n
That c e rta in cognitive c h a r a c te r is tic s a r e e s s e n tia l for the
creative individual s e e m s apparent. H ow ever, psychologists generally
have not found abilities to o p erate in isolation, but in conjunction with
other personality v a ria b le s , such as total s y s te m of n e e d s, attitudes,
goals, and em o tio n s. The im p o rtan ce of these p e rso n a lity v a ria b le s is
evidenced in the ex te n siv e r e s e a r c h which has gone into personality
fac to rs in re la tio n s h ip to the c reativ e individual. Recognized c reativ e
r e s e a r c h s c ie n tis ts , w r i te r s , m ath e m a tic ia n s , and a rc h ite c ts w ere
invited to the Institute for P e rso n a lity A s s e s s m e n t and R e s e a rc h at the
U niversity of C alifo rn ia and studied extensively. M acKinnon (1961)
rep o rted that the a r c h ite c ts who w ere con sid ered highly creative w ere
high on a e sth e tic v a lu e s, w e re perceptive, intuitive, and introverted.
On m e a s u r e s taken by the California P sychological Inventory, they
w e re also ra te d as self-confident, a g g re s s iv e , flexible, self-accepting,
and nonconform ing. Although they w e re seen as in tro v e rte d by nature,j
they d e m o n s tra te d m a r k e d social poise, dom inance, and a d e s ire to j
control o th er people when they did in te ra c t with th em . !
In another study by Gough (1961), e sse n tia lly the sam e c h a r a c
t e r i s t i c s w e re found in a group of c re a tiv e r e s e a r c h s c ie n tis ts . How- i
e v e r, they w e re also found to be p redom inantly judgm ental r a th e r than
p ercep tiv e. In a study of c re a tiv e w r ite r s by B a r ro n (1963), the
im pulsivity, independence, in tro v e rsio n , in tuitiveness, s e lf
acceptance sy n d ro m e again o c c u rr e d with a group of c re a tiv e w r ite r s .
H ow ever, this group did differ in th eir g r e a te r originality and e m p h a
sis on fantasy co n sisten t with th e ir profession.
In a study of a rc h ite c ts by Hall and MacKinnon (1969), a m u l
tiple s te p -w is e c o rr e la tio n a n aly sis was conducted on each of seven
p e rso n a lity inventories against the rated creativity of 62 a rc h ite c ts .
In e a ch a n a ly sis, the b e st com bination of th re e v a ria b le s was id en ti
fied. The equation d e riv e d fro m the a n a ly se s w ere then validated on a>
second sam ple of 62 a rc h ite c ts . Initial m ultiple c o rre la tio n s ranged
f ro m +0. 80 to +0. 35; c ro s s - v a lid a te d coefficients ranged fro m +0. 55
to +0. 20. The te s ts u sed w e re The Adjective Check L ist, the C alifor- ,
nia P sy ch o lo g ical Inventory, the F ir o - B , M innesota M ultiphasic P e r -
sonality Inventory, M e y e r s - B r i g g s , Type Indicator, Strong Vocational:
I n te r e s t Blank, The A llp o rt-V e rn o n -L in d z e y Study of V alues. The ^
C alifornia P sychological Inventory and the Strong V ocational In te re s t
Blank w ere m o s t indicative of the highly c re a tiv e a rc h ite c ts . Using j
m ultiple c o rre la tio n s d e riv e d f ro m the f ir s t sam p le of highly c re a tiv e
a rc h ite c ts , and c ro s s - v a lid a te d on the second s a m p le , th re e C alifornia
47
P sych ological Inventory p e rso n a lity v a ria b le s w ere found to be very
p redictive of the highly c re a tiv e a rc h ite c ts . T hese w e re high s c o re s
on the fem ininity scale, and low sc o re s on A chievem ent Via
C onform ity.
As Hall and M acKinnon stated:
In the p re s e n t instance using a th re e v ariable solution, one
is s tru c k by the good psychological sense that can be m ade of
the s e v e ra l equations. F o r exam ple, the C PI equation, plus
.547 S P m inus 1.015 Ac m in u s .990 F e, e m p h a s iz e s fa c to rs
found repeatedly to c h a r a c te r iz e m o re c re a tiv e p e rs o n s . The
spontaneity and self-confidence reflected in the Social P r e s e n c e
Scale belies one stereo ty p e of creativity, that of the socially
anxious and ineffective m isfit. A large negative weight given
to ach iev em en t by a c onform ity goes along with the frequently
found low er sc o re on this sc ale relative to A chievem ent Via
Independence, which is a com bination quite c h a r a c te r is tic of
both highly creative and s u c ce ssfu l p e rso n s in the p ro fe ssio n .
The fem ininity scale weighting reflec ts an often re p e a te d finding
that our c re a tiv e S's r e v e a l an openness to th eir own feelings
and em otions, a s e lf - a w a r e n e s s , with widely ranging in te r e s ts
including m any which in W e ste rn culture a re thought to be
fem inine, (p. 325)
C attell and his a s s o c ia te s (1955), using a factor analytic
ap p ro ach , have also studied the perso n ality c o r r e la te s of the c reativ e
individual. In se v e ra l studies using the Sixteen P e rs o n a lity F a c to r
T e st, they have come up with v e ry s im ila r r e s u lts . In s e v e r a l studies
C attell and his a s s o c ia te s found creative a r t i s t s and w r i t e r s to show
the p e rso n a lity tr a its of ego stre n g th , dom inance, self-su fficien cy ,
sensitivity, in tro v e rsio n , d e s u rg e n c e , and ra d ic a lism . He also found
his a r t i s t s w ere slightly m o r e B ohem ian than the c re a tiv e sc ie n tists.
C re a tiv e psychologists have be e n shown to have s im ila r c h a r a c te r is-
tics of independence, a n o n -c o n c e rn with social e n v iro n m en t, but d if
fere d in lacking the dom inance and a g g re s s iv e n e s s m an ifested by other
groups.
A nother study exam ined the re la tio n sh ip betw een the Sixteen
P e rso n a lity F a c to r Q u e stio n n a ire , the B a r ro n C om plexity Scale, and
Selected M e a s u r e s of D ivergent Thinking fro m G uilford's S tru c tu re of
Intellect utilizing a c o rr e la tio n technique. P re v io u s w ork with the
Sixteen P e r s o n a lity F a c to r s T est indicated that it would d isc rim in a te
am ong c re a tiv e and rela tiv e ly le s s c re a tiv e g ro u p s, suggesting that
p e rfo rm a n c e on the P f Scale should be significantly re la te d to the B a r
ro n Com plexity Scale and the S tru c tu re of Intellect. H e re the Sixteen
Pf Scale and the B a r ro n Com plexity Scale showed lim ited congruency,
but the S tru c tu re of Intellect m e a s u r e m e n ts w e re not as congruent
(O hm acht, 1967). The p e rso n a lity c h a r a c te r is t ic s of adolescents and
adults w e re c o m p a re d by P a rlo ff (1968). A d o lescen ts who sc o re d
above the eightieth p e rc e n tile on the Science T a len t S ea rc h T e st and
who subm itted p ro je c ts judged v e ry c re a tiv e and sam p les of creative
m a th e m a tic ia n s , r e s e a r c h sc ie n tis ts , w r i te r s , and a rc h ite c ts w ere all
given a b ro ad a r r a y of T e s ts . The C alifornia P sy ch o lo g ical Inventory
was a d m in is te re d to all groups. S ep arate c o rre la tio n a l m a tr ic e s w e re I
com puted for the eighteen C alifornia P sy c h o lo g ic a l Inventory Scales. j
f
The m o re c re a tiv e adult groups could be differentiated fro m the le s s j
j
I
c re a tiv e adult g ro u p s, independent of th e ir fie ld s, by a set of personal-j
49
ity c h a r a c te r is tic s . Adaptive autonom y and a s s e r tiv e s e lf -a s s u ra n c e
a p p e are d to distinguish the adult c re a tiv e individual, while disciplined
effectiveness se e m e d to d isc rim in a te the c re a tiv e adolescent.
T h e re has often been speculation on the possible rela tio n sh ip
betw een creativity and som e fo rm of m ental illn ess. This m yth was
f ir s t exploded in the studies by T e rm a n on giftedness (1954). H ow ever,
it is a difficult p ro b le m to a s s e s s , p a rtic u la rly since re c e n t r e s e a r c h
has been c ritic a l of c u r r e n t definitions of m en tal health. In m any of
the studies p reviously m entioned, p e rso n a lity t r a its that could be
d e sc rib e d as being re la te d to som e fo rm of psychopathology have been
found as p a rt of the c re a tiv e individual's n a tu re , but in all c a s e s ,
these tra its e m e r g e within the context of high ego control. F o r
instance, in the study cited by Wild (1965) it w as ego stre n g th which
a p p e a re d to d ifferentiate the highly c re a tiv e fro m the schizophrenic
group. Studies at the Institute for P e rs o n a lity A s s e s s m e n t and
R e s e a rc h also found psychopathological tra its e m e rg in g as a p a rt of
the c re a tiv e individual's p e rso n a lity . But in all c a s e s h e re they found
that th e r e was also a distinctly s u p e rio r s c o re on m e a s u r e s of ego
stre n g th (B a rro n , 1961, 1962; C r o s s , e t a l . , 1967; D revdahl and C a t
tell, 1958).
Sex am b iv alen ce and hom osexuality have also been d e s c rib e d as
c h a r a c te r is tic of the c re a tiv e p e rso n . T h e re have been s e v e r a l find
ings which show a high a s so c ia tio n betw een cre a tiv ity and high
50
femininity s c o r e s for m en or high m ascu lin ity s c o re s for w om en. The
suggestion that som e c re a tiv e individuals a r e c h a ra c te r iz e d by h o m o
sexual p ro b le m s w as not supported in a study by E llis (1959). In this
study, E llis found that the d e g re e of hom osexuality was d ire c tly r e
lated to the loss of c re a tiv e potential S im ila r r e s u lts w e re found by
MacKinnon (1961) and B a r r o n (1963).
O ther studies have shown that c re a tiv e m en d e m o n s tra te d a high
degree of m a s c u lin e -a s s o c ia te d tra its such a s a s s e r ti v e n e s s , confi
dence, d e te rm in a tio n , am bition, and power ( H a m m e r, 1964). M ost
tests of m a sc u lin ity and fem ininity could b e st be d e s c rib e d as m e a
s u re s of in te re s t p a tte rn s com m on to m en o r wom en. R e su lts of s tu d
ies of c reativ e individuals suggest that the c re a tiv e m ale is m o re able
to allow e x p re s s io n of his em otionality and a c c e p t his im p u lse s that our
culture does not recognize as c h a r a c te r is tic of m en, and that w om en
a re m o re able to be in touch with in te r e s ts th at a re not typical of our
culturally defined p a tte rn s for w om en. B a r r o n (1963) has alre ad y s u g
gested that a c e rta in am ount of c ro s s - s e x e d identification is a p r e r e q
uisite for c re a tiv e n e s s in both m en and w om en, with m o re creative
w om en having sa lie n t m a s c u lin e c h a r a c te r is t ic s , u s t as c re a tiv e m en
have salient fem inine c h a r a c te r is tic s . Yet the data is far fro m c on
clusive, as th e re a r e m any m ethodological p ro b le m s connected with
these types of m e a s u r e m e n ts .
51
A n o th e r v a ria b le in sex d iff e re n c e s w as stu d ie d by A n d e rs o n
and C ro p le y (1966). They p ro p o s e d a th e o ry of o r ig in a lity in w hich
o r ig in a l p e r f o r m a n c e s w e r e g o v e rn e d by th e ab ility o r the in a b ility to
in te r n a liz e " s to p - r u le s . " T h e se s t o p - r u l e s , they felt, w e re r e l a te d to
the p s y c h o a n a ly tic c o n c ep tio n of a n a lity . T hey found a low c o r r e la tio n ,
r = + 0 .0 8 , b e tw e en sex and o rig in a lity d e riv e d fro m the r e s u l ts of th e ir
to ta l s a m p le of s u b je c ts . H o w e v e r, th ey did find a sig n ific a n t r e l a t i o n
s h ip b e tw e en se x and o rig in a lity w hen th e two g ro u p s w e re c o n tro lle d
fo r o r ig in a lity . T h e ir c o n c lu s io n s w e re :
The b a s ic a s s u m p tio n is th at th e r e a r e no s e x d iffe re n c e s
in o rig in a lity , e x c e p t in s o f a r a s s e x is sig n ific a n tly r e la te d to
o th e r a ttr ib u te s w hich a r e th e m s e lv e s sig n ific a n tly a s s o c ia te d
w ith o rig in a lity . T h u s, the s tr e n g th of the re la tio n s h ip b e tw e en
o rig in a lity and any v a ria b le w hich i n te r a c ts w ith sex w ill be
r e d u c e d by holding se x c o n s ta n t, (p. 224)
T h e ir c e n tr a l c o n c lu sio n s c e n te re d a ro u n d r is k - ta k in g b e h a v io r in
r e la tio n s h ip to s to p - r u le s . T hey fe lt th a t o r ig in a lity w as m o re c lo s e ly
r e l a te d to r is k - ta k in g b e h a v io r th an to im p u ls iv e n e s s , and a ls o to
w h a te v e r e x te n t r is k - ta k in g b e h a v io r is m o r e c h a r a c t e r i s t i c of m a le s
th a n f e m a le s th at th e r e w ould be se x d iff e re n c e s on o rig in a lity due to
th is f a c to r.
A n o th e r m o tiv a tio n a l c h a r a c t e r i s t i c of the c r e a tiv e in d iv id u al
w as s u g g e s te d by B a r r o n (1963). He f e e ls th a t the c re a tiv e p e r s o n h a s
a s tro n g n e e d to find o r d e r w h e re none a p p e a r s , b u t at the s a m e tim e
is a b le to to le r a te u n c e rta in ty . T o r r a n c e and Daw (1965) p ro b e d the
52
m o tiv a tio n of high sc h o o l s e n io r s . They found th at th e s e high school
s e n io r s e x p r e s s e d th ro u g h th e ir a s p ir a tio n s g r e a t e r s tr iv in g s and a
n e e d fo r e x c e lle n c e , a g r e a t e r a ttr a c tio n to the u n u su a l and u n c o n v e n
tio n a l ty p e s of a c h ie v e m e n t. They fe lt th a t th is in d ic a te d a s tro n g
d e s i r e to d is c o v e r and u se p o te n tia litie s w ithin th e m s e lv e s . T h e se
fin d in g s a r e a ls o c o n s is te n t w ith M a d d i's (1965) view th at the tr u ly
c r e a tiv e p e rs o n is m o tiv a te d by an in te n se n e e d fo r q u a lity and n o v elty ,
and he m ay be view ed a s a r e la tiv e ly c o n c re te e x p r e s s io n of the g e n e ra l
te n d e n c y to w a rd s e lf -a c tu a liz a tio n . U sing a new ly c o n s tru c te d S im ile s
P r e f e r e n c e T e s t, he show ed a r e la tio n s h ip b e tw e e n c re a tiv ity and the
n e e d fo r n o v e lty by c itin g s ig n ific a n t c o r r e la tio n s b e tw e e n no v elty or
im a g in a tiv e p ro d u c tio n s and a ten d en cy to p r e f e r novel e n d in g s. R isk -
tak in g te n d e n c ie s b a s e d on the n eed to a c h ie v e have b e e n su g g e ste d by
M c C le lla n (1963). K aplan (1963) h a s s u g g e ste d th a t c re a tiv e r e s e a r c h
s c ie n t is ts h av e a g r e a t e r i n t e r e s t in tak in g c a lc u la te d r is k s .
C H A P T E R III
M E T H O D AND PR O C E D U R E S O F TH E STUDY
T he p u rp o s e of th is study w as to p ro v id e a p s y c h o m e tric study
of the In d iv id u al T e s t of C re a tiv ity .
T he In d ividual T e s t of C re a tiv ity
The In d iv id u al T e s t of C r e a tiv ity w as d e v e lo p e d by M e tfe s s e l
and R i s s e r w hile th ey w e re engaged in a r e s e a r c h p r o g r a m known as
P r o je c t P o te n tia l, s p o n s o re d by the U nited S ta te s O ffice of H e a lth , E d u
c a tio n , and W e lfa re . T h is r e s e a r c h w as c o n c e rn e d w ith th e id e n tif ic a
tio n of hig h in te lle c tu a l p o te n tia l am o n g e d u c a tio n a lly o r c u ltu ra lly d is - i
a d v a n ta g e d s tu d e n ts . It w as hoped th a t th is a p p ro a c h to te s tin g would
p ro v id e a m o r e c u ltu ra lly fa ir m e a s u r e m e n t of in te lle c tu a l po ten tial.
!
The t e s t its e lf is div id ed into tw elve s u b te s ts : six v e rb a l and s ix p e r - j
fo rm a n c e s u b te s ts c o m b in e d and y ield in g a to ta l s c o r e . T h is d e s ig n ;
i
w as b a s e d upon th e W e c h s le r p ro to ty p e of an in te llig e n c e te s t.
R e d e fin itio n A b ilitie s S u b te st j
i
T he f i r s t s u b te s t is on R e d e fin itio n A b ilitie s . The v e rb a l f o r m ;
i
i
of the R e d e fin itio n A b ilitie s s u b te s t in v o lv es h a n d in g the s u b je c t an j
53
54
a b s t r a c t d ra w in g c a lle d a d o o d le, and th en say in g to the su b je c t:
I w ant you to te ll m e w h a t you th in k th is d raw in g m ig h t be.
T h e re is no one rig h t a n s w e r. I ju s t w ant to see how m a n y d if
f e r e n t th in g s th is m ight be fo r you. F o r e x a m p le , th is d ra w in g
m ig h t be a s u n r is e [p a u se ] o r it m ig h t be a ro c k in the s t r e e t ,
now w hat do you think th is m ig h t b e ? ( R i s s e r , 1966)
The p e r f o r m a n c e p a r t of the R e d e fin itio n A b ilitie s s u b te s t in v o lv e s
p r e s e n tin g the su b je c t w ith a d ra w n p ic tu r e in w hich a n im a ls have b e e n
e m b e d d e d in o th e r fig u re s and d e s ig n s . T hen the s u b je c t is a s k e d ,
"Show m e a ll the a n im a ls you c a n find in th is p ic tu re . " The i n s t r u c
tio n s fo r both F o r m A and F o r m B of the R ed efin itio n A b ilitie s s u b te s t
a r e e s s e n tia lly the s a m e , a lth o u g h the d ra w in g s and do o d les a r e
d iffe re n t.
S e n sitiv ity to P r o b le m s
One of the h y p o th e siz e d a b ilitie s of a c re a tiv e p e r s o n w as th at
he w ould be e s p e c ia lly p ro fic ie n t in o b s e rv in g d e fe c ts , d e fic ie n c ie s ,
and im p e r f e c tio n s . In o th e r w o r d s , he would be s e n s itiv e to p r o b le m s .
The S e n s itiv ity to P r o b le m s V e rb a l s u b te s t in the ITO C in v o lv e s a sk in g
th e su b ject:
I am going to a s k you to te ll m e so m e of the p r o b le m s you
m ig h t have w ith so m e th in g . F o r e x a m p le , if I should a s k you
w hat a r e so m e of the p r o b le m s you m ig h t have w ith a p e n c il,
you m ig h t say th a t you m ig h t ja b y o u r s e lf w ith the s h a rp p o in t,
the lead m ig h t b r e a k , o r you m ig h t lo se the p e n c il. ( R i s s e r ,
1966)
In the p e rf o r m a n c e p a r t of th is s u b te s t a n o th e r d ra w in g of an
u r b a n s c e n e is p r e s e n te d . T h e r e a r e a v a rie ty of w rong o r fo o lis h
55
e le m e n ts th a t the s u b je c t is a s k e d to identify in th is p ic tu r e . A gain,
both f o r m s of the ITO C involve the s a m e in s tr u c tio n s w ith d iffe re n t t e s t
ite m s .
F lu e n cy of T hinking
One of G u ilfo r d 's o r ig in a l id ea s w as th a t p e r s o n s who p ro d u c e d
id e a s ra p id ly w ould have an a d v a n ta g e in being c r e a tiv e o v e r th o se who
p ro d u c e d th e m m o r e slow ly. T his is tr u e p ro v id in g the a v e ra g e lev e l
of a b ility e x p r e s s e d in the id e a s is e q u a l. T his s u b te s t ite m in v o lv e s
a sk in g th e s u b je c t to "n am e a s m any u s e s a s you can fo r a m a g a z in e . "
In the p e r f o r m a n c e ite m , th e s u b je c t is p ro v id e d w ith s s h e e t of p a p e r
w ith s q u a r e s m a r k e d off and is told:
Now I w a n t to see how m an y th in g s you c a n d ra w in fo u r
m in u te s . E a c h d raw in g m u s t h av e a c ir c le in it. You m ay add
any o th e r lin e s you need to . D ra w in g a b ility is not im p o rta n t.
I a m ju s t in te r e s t e d in how m an y th in g s you ca n d ra w . You have
only fo u r m in u te s , and r e m e m b e r e a c h d ra w in g m u s t have a
c ir c le . ( R i s s e r , 1966)
F le x ib ility of T hinking
F le x ib ility of thinking im p lie s th e a b ility to change o r sh ift the
thought p r o c e s s e s . T h is could be a change in m e a n in g , in te r p r e ta tio n ,
o r the u sin g of so m e th in g . In the v e rb a l s u b te s t, the su b je c t is a s k e d
to n a m e a s m a n y u s e fu l th in g s as p o s s ib le th a t he c a n do w ith a p en c il.
The p e r f o r m a n c e s u b te s t in th is s e r i e s in v o lv es tellin g the su b ject:
56
A g ain I w an t you to d ra w so m e th in g . You m ay u se th e s e f ig
u r e s , but only th e s e f ig u r e s to m ak e y o u r d ra w in g . T h is tim e
you m ay not add any e x tr a lin e s . You m a y u s e any of the f ig u re s
a s m an y tim e s a s you w ish. You m ay u s e th e m in any w ay and in
any p o sitio n . You m ay change th e ir s iz e s but not th e ir s h a p e s .
R e m e m b e r , you m a y n o t add any e x tr a lin e s . You m ay m ak e one
d ra w in g o r m a n y . You w ill h av e five m in u te s to m ak e y o u r
d ra w in g s . ( R i s s e r , 1966)
In th is p e r f o r m a n c e s u b te s t the su b je c t is b eing a s k e d to u s e s o m e d if
f e r e n t sh a p e d lin e s th a t he is to co m b in e into d ra w in g s of h is own
choosing.
O rig in a lity
G u ilfo rd b e lie v e d th a t o r ig in a lity w as b e s t defined in t e r m s of
the s ta t is t ic a l fre q u e n c y of a r e s p o n s e . In the v e rb a l s u b te s t of o r i g i
n a lity , the s u b je c t is p r e s e n te d w ith two c a rto o n s and one lim e r ic k . He
is a s k e d to fo rm u la te h is own r e s p o n s e s , fillin g in the b a llo o n s in the
c a rto o n f ig u r e s o r adding th e l a s t line to the l im e r i c k . The p e r f o r
m a n c e s u b te s t for o r ig in a lity is an e v e n m o r e u n u su a l type of ite m .
H e r e the s u b je c t is told:
If I told you th a t I w a s going to do so m e th in g like w alk h o m e ,
how could you say the s a m e th in g by d ra w in g on a p ie c e of p a p e r ?
W ell, one w ay w ould be like th is [sh o w s a m p le r e s p o n s e in r e c o r d
b ooklet]. H e r e a r e so m e th in g s th a t p eo p le c a n do and I w an t you
to say the s a m e th in g by d ra w in g in s q u a r e s on th is p ie c e of p a p e r.
The only thing you m a y n o t do is d ra w p eo p le doing th in g s o r u se
l e t te r s o r n u m b e r s . ( R i s s e r , 1966)
P r o p e n s ity fo r E la b o ra tio n
T h is is one of the n e w e r a b ilitie s d is c o v e r e d by G u ilfo r d 's
A ptitude R e s e a r c h P r o je c t . E la b o ra tio n h a s b e e n defin ed a s the a b ility
57
to g e n e ra te im p lic a tio n s fro m g iv en in fo rm a tio n . F o r the c r e a tiv e
p e r s o n e a c h su c c e e d in g id e a s e e m s to s u g g e s t a new one. In the v e rb a l
s u b te s t fo r p ro p e n s ity fo r e la b o r a tio n , the s u b je c t is a s k e d to p lan a
p r o g r a m to m a k e m o n ey fo r so m e type of a c tiv ity . He is then s c o r e d ,
b a s e d upon the n u m b e r of d iffe re n t e la b o r a tio n s he d e v e lo p s. In the
p e r f o r m a n c e s u b te s t fo r p ro p e n s ity fo r e la b o r a tio n , the s u b je c t is p r e
se n te d a s h e e t of p a p e r on w hich th e r e is a s tim u lu s lin e . He is th en
told th a t th is is the beg in n in g of a d ra w in g and th a t he is to c o m p le te
th e d ra w in g . F o r a m o r e c o m p le te d e s c r ip tio n of the in s tr u c tio n s to
the su b je c t and the m e th o d s fo r s c o rin g th e s e ite m s , see R i s s e r (1966).
T a b le 1 r e p r e s e n t s the r e la tio n s h ip of the ITOC s u b te s t and the G u ilfo rd
SI h y p o th e siz e d c e lls and t r i l o g r a m d e s ig n a tio n s .
G u ilfo r d 's M a r k e r T e s ts
In the o r ig in a l d e v e lo p m e n t of the ITO C , it w as h y p o th e s iz e d
th a t the s u b te s ts would c o r r e la t e w ith th e s tr u c tu r e of in te lle c t f a c to r s
of c r e a tiv e a b ility o rig in a lly s u g g e ste d by G u ilfo rd . T h is study is
an a tte m p t to v a lid a te f a c to r ia lly the r e la tio n s h ip b e tw e en the In d iv id u al
T e s t of C r e a tiv ity and so m e of G u ilfo r d 's t e s ts of d iv e rg e n t p ro d u c tio n .
T h e s e m a r k e r te s ts w e r e d e v e lo p e d by G u ilfo rd and h is a s s o c i a te s at
the A p titu d e R e s e a r c h P r o j e c t at th e U n iv e rs ity of S o u th e rn C a lifo rn ia .
Six of th e m w e re u se d in th is study:
58
T A B L E 1
H Y P O T H E S IZ E D SI F A C T O R F O R ITO C
ITOC S u b te sts
ITOC
V P G u ilfo rd M a r k e r T e s t
R ed efin itio n A bility DMT N F T NMT O b ject S y n th e sis
a
S e n sitiv ity to P r o b le m s CMI CM I CMI S eeing P r o b le m s
F lu e n c y of T hinking DMU DFU DFS M aking O b je c ts
F le x ib ility of T hinking DMC D F T DMC U tilitie s T e st
O rig in a lity DMT DMT DMT Sym bol P ro d u c tio n
P r o p e n s ity f o r E la b o ra tio n DMI D F I D FI F i g u r e P ro d u c tio n
V = V e rb a l; P = P e r f o r m a n c e
cl
O rig in a lly , R i s s e r h y p o th e siz e d the SI f a c to r E M S , but
sin c e h is w o rk , G u ilfo rd c h a n g ed th e SI f a c to r f o r S e n s itiv ity to
P r o b le m s to CM I (G u ilfo rd , 1967, p. 106).
1. O b je c t S y n th e sis (NMT)
2. S eeing P r o b le m s (CMI)
3. M aking O b je c ts (DFS)
4. U tilitie s T e s t (DMC)
5. S ym bol P ro d u c tio n (DMT)
6. F ig u re P ro d u c tio n (DFI)
T h e s e t e s t s w e re d e v elo p ed a s a p a r t of the r e s e a r c h th a t h a s b een done
in d eveloping th e s tr u c tu r e of in te lle c t m o d e l fo r in te llig e n c e .
In G u ilfo rd 's e a r ly study of c r e a tiv e a b ilitie s , he h y p o th e s iz e d
s e v e n d iffe re n t a r e a s . One of the e a r ly a s s u m p tio n s by G u ilfo rd and
h is a s s o c ia te s w as th at the c r e a tiv e p e r s o n w ould have a high d e g re e of
s e n s itiv ity to p r o b le m s . A n o th e r c r e a tiv e a b ility w as c a lle d flu e n c y .
The r a tio n a le fo r th is is th a t p e rs o n s who p ro d u c e id e a s ra p id ly should
h av e an a d v a n ta g e in c re a tiv ity o v e r th o se who p ro d u c e th e m m o re
slow ly. The th ir d h y p o th e siz e d c r e a tiv e a b ility w as fle x ib ility . T h is
w as s e e n a s involving an a b ility to a d a p t to changing in s tr u c tio n s , a
f re e d o m f ro m in e r t ia of thought and p r o b le m -s o lv in g , and a s p o n ta n e
o us shifting of the k in d s of c l a s s e s of r e s p o n s e s given. In o th e r w o rd s ,
if the s u b je c t h a s g r e a t e r fle x ib ility in h is a p p ro a c h to finding so lu tio n s
to p r o b le m s , he is m o r e lik e ly to com e up w ith a new , n o v e l, o r c r e
a tiv e so lu tio n . O rig in a lity h a s b e e n one of the m o re tr o u b le s o m e of
the c r e a tiv e a b ilitie s . G u ilfo rd 's c o n c e p t of o rig in a lity w ent beyond the
u n u s u a l, u n c o n v e n tio n a l, and r e m o te a s s o c ia tio n s to in clu d e a " c l e v e r
n e s s " of r e s p o n s e . He found in h is s tu d ie s th a t r a t e r s of " c l e v e r n e s s "
re a c h e d " fa irly good a g r e e m e n t" (G u ilfo rd , W ilso n , C h r is te n s e n , and
L e w is , 1952, p. 6). The fifth c re a tiv e a b ility h y p o th e s iz e d by G u ilfo rd
and h is a s s o c ia te s at the A ptitude R e s e a r c h P r o j e c t w as e la b o ra tio n .
T his h a s b een d efin ed a s the a b ility to g e n e ra te im p lic a tio n s f ro m i n
fo rm a tio n . R e d e fin itio n a b ility w as the six th of G u ilfo rd 's o rig in a l
h y p o th e s e s . He fe lt th a t h ighly c re a tiv e p e r s o n s would be able to see
th in g s in w ays th a t w ould n o t be obvious to the l e s s c r e a tiv e p e rs o n .
T h is would be r e p r e s e n t e d by the ab ility to r e o r g a n iz e o r re d e fin e the
e le m e n ts of a p r o b le m the c r e a tiv e p e r s o n is try in g to so lv e . A n a ly s is ,
the s e v e n th of the h y p o th e s iz e d c re a tiv e a b ilitie s , has not b een e s t a b
lish e d a s a u n ita r y t r a i t a t th is point. S y n th e sis is the eig h th a b ility
th a t G u ilford h y p o th e s iz e d to be r e la te d to c r e a tiv e p ro d u c tio n . T hus
f a r , the a tte m p ts to is o la te th is a s a u n ita ry a b ility have fa ile d . The
l a s t of G u ilfo rd 's h y p o th e s iz e d c re a tiv e a b ilitie s is p e n e tra tio n . He
d e fin e s p e n e tr a tio n a s the a b ility to s e e beyond the o b v io u s. A g ain ,
r e s e a r c h h a s fa ile d to find th is t r a i t a u n ita r y f a c to r.
In G u ilfo rd 's a tte m p t to study c re a tiv ity , he d e v is e d a v a r ie ty
of t e s t ite m s w hich w e re to m e a s u r e th e s e a b ilitie s . T h e s e te s t ite m s
h ave b e e n k ey ed to be id e n tifie d by the s tr u c tu r e of in te lle c t f a c t o r s of
d iv e rg e n t p ro d u c tio n o r c o n v e rg e n t p ro d u c tio n . The f i r s t t e s t u s e d in
th is study w as title d M aking O b je c ts. T h is t e s t , in t e r m s of the SI
m o d e l, is id e n tifie d by the t e r m s D iv e rg e n t P ro d u c tio n of F ig u r a l
6 1
S y s te m s . In th is t e s t , the su b je c t is a sk e d to u se s e v e r a l g iv en sim p le
g e o m e tr ic f o r m s and o rg a n iz e th e m to c o n s tr u c t an o b je c t th a t is
n a m e d . The o b je c t is n a m e d in o r d e r to re d u c e the a m o u n t of d i v e r
gent p ro d u c tio n of f ig u r a l u n its , o r d iv e rg e n t p ro d u c tio n of s e m a n tic
u n its v a ria n c e th at w ould o c c u r if the su b je c t had to think of the o b je c ts
th at he w as to m a k e h im s e lf .
The seco n d of G u ilfo rd 's te s ts u s e d is title d U tility T e s t. This
is id e n tifie d in the s tr u c tu r e of in te lle c t m o d e l a s D iv e rg e n t P ro d u c tio n
of S e m a n tic C l a s s e s (DM C). In th is t e s t , the su b je c t is a s k e d to lis t as
m an y u s e s a s he can th in k of fo r a b ric k . T he s c o rin g of th is ite m is
so m e w h a t d iffic u lt, but once u n d e rs to o d is e a s ily a p p lic a b le . H e re the
s c o r e r e p r e s e n t s not th e n u m b e r of c a te g o r ie s o r u s e s , but the n u m b e r
of sh ifts in thinking d e m o n s tr a te d by the s u b je c t. T h e r e f o r e , e v e ry
tim e the s u b je c t's r e s p o n s e s h ifts to a new u s e , the su b je c t r e c e iv e s a
s c o r e . T his sh ift s c o r e p rin c ip le h a s a ls o b e e n s u c c e s s fu lly u se d for
DMC by F r ic k , G u ilfo rd , C h r is te n s e n , and M e r r if ie ld (1959) in
O b ject N am ing t e s t s .
The th ir d t e s t u s e d is c a lle d F ig u re P ro d u c tio n . T h is e la b o r a
tio n a b ility f a c to r w a s found in a study of planning by B e r g e r (1957).
In th e SI m o d e l, it is id en tified by the n a m e D iv e rg e n t P ro d u c tio n of
F ig u r a l Im p lic a tio n s (D FI). In th is t w o - p a r t t e s t , the su b je c t is given
a s tim u lu s line and a s k e d to d r a w a re c o g n iz a b le f ig u re . It is tim e d ,
and th e s u b je c ts a r e a ls o told th a t one way to te ll w h e th e r th e ir r e s u l ts
62
can be re c o g n iz e d is to tr y to th in k of a n a m e o r b r ie f d e s c r ip tio n fo r
it. In its o r ig in a l d e v e lo p m e n t, it could n o t be d e c id e d w h e th e r, b e
c a u se of the m e a n in g fu ln e s s of the o b je c ts to be p ro d u c e d , th is f a c to r
w as s e m a n tic e la b o r a tio n o r a confounding of s e m a n tic and fig u ra l
e la b o ra tio n . In a la te r a n a ly s is by G u ilfo rd e t al. (1961), the F ig u re
P ro d u c tio n T e s t w as c o r r e la t e d w ith two o th e r t e s t s of fig u re p r o d u c
tion to d e te r m in e w h e th e r the s e m a n tic e la b o r a tio n f a c to r w as c o n
founding the F ig u re P ro d u c tio n T e s t. The r e s u l ts ten d ed to su p p o rt
th a t the F ig u r e P ro d u c tio n T e s t m e a s u r e d the D F I a b ility and not the
DMI a b ility .
The fo u rth t e s t is title d S eeing P r o b le m s . In the in itia l d e v e l
o p m e n t of the IT O C , R i s s e r sta te d :
F o r m an y y e a r s he [G u ilfo rd ] b e lie v e d the s tr u c tu r e of
in te lle c t f a c to r fo r s e n s itiv ity to p r o b le m s a b ility w as E M I, the
e v a lu a tio n of s e m a n tic im p lic a tio n s , but he is now co n fid en t th at
EM S is the c o r r e c t c la s s if ic a tio n (b a se d on p e rs o n a l in te rv ie w
w ith D r. G u ilfo rd in M a rc h , 1965). ( R i s s e r , 1966, p. 59)
S u b seq u en t to th is , G u ilfo rd a g a in ch anged h is m ind. He now
s ta te s :
F a c to r E M I h a s a double h is to r y , one a s p e c t n e g a tiv e and
one p o s itiv e . In C h a p te r 4 it w as r e la te d how fo r so m e tim e a
f a c to r f i r s t i n te r p r e te d a s " s e n s itiv ity to p r o b le m s " w a s a s s ig n e d
to s e ll E M I on the b a s is that "th in g s w ro n g " th a t a r e s e e n w ith
r e s p e c t to a p p lia n c e s , in s titu tio n s , and c o m m o n o b je c ts a r e i m
p lic a tio n s , and th a t so m e th in g w ro n g in v o lv e s e v a lu a tio n . It
should h ave b een c le a r a s it is now th at it is not th a t im p lic a tio n s
a r e e v a lu a te d in su ch in s ta n c e s ; in s te a d , they a r e c o g n ized . The
f a c to r c a lle d " s e n s itiv ity to p r o b le m s " is now in its m o r e a p p r o
p r ia te p la c e , CM I. (G u ilfo rd , 1967b, p. 205)
63
In th is t e s t , the s u b je c t is g iven n a m e s of c o m m o n o b je c ts , th e n he is
a s k e d to s ta te w hat p r o b le m s m ig h t o c c u r w hen he th in k s about e a c h
o b je c t. H e d o e s n 't h av e to think of any s o lu tio n s fo r the p r o b le m s , he
ju s t h a s to p ro d u c e th e m .
The fifth t e s t in the s e r i e s d e v e lo p e d by G u ilfo rd and h is a s s o
c ia te s is S ym bol P ro d u c tio n . T h is is id e n tifie d in the SI m o d el as
D iv e rg e n t P ro d u c tio n of S e m a n tic T r a n s f o r m a tio n s , o r DM T. In th is
te s t, the e x a m in e e m u s t p ro d u c e sy m b o ls to r e p r e s e n t g iven a c tiv itie s
and o b je c ts . F o r e x a m p le , he is a s k e d to p ro d u c e by m e a n s of s y m
b o ls the s ta te m e n t " a s s e m b le p a r t s . "
T he l a s t of the m a r k e r t e s t s d e v e lo p e d by G u ilfo rd is c a lled
O b je c t S y n th e sis . T h is is id en tified in the SI m o d e l a s c o n v e rg e n t p r o
d u c tio n of s e m a n tic t r a n s f o r m a tio n s (NM T). In th is t e s t , the su b je c t
is g iv en two c o m m o n o b je c ts w hich by c o m b in a tio n he is to put to g e th e r
to m ak e s o m e th in g e ls e th at is u s e fu l. F o r e x a m p le , p lie r s and a shoe
s tr in g f ro m w hich a p e n d u lu m could be m a d e .
T h e s e six t e s t s h ave b e e n put to g e th e r in a b a tte ry f o rm w ith a
s e t of in s tr u c tio n s fo r the a d m i n is t r a t o r . E a c h of the t e s t s is tim e d
and the a p p ro x im a te a d m in is tr a tio n tim e is 65 m in u te s . Two h u n d re d
s u b je c ts w e re s e le c te d and th e s e t e s t s w e re a d m in is te r e d to th e m in
g ro u p fo rm .
64
S u b je ct S am p lin g
A ll s u b je c ts in th is study w e re ta k e n fro m lo c a l c o m m u n ity
c o lle g e s and high sc h o o ls in the s o u th e rn s e c tio n of L o s A n g e le s
County. T he s u b je c ts w e re a ll v o lu n te e rs and a to ta l of 267 s u b je c ts
w e re te s te d in itia lly , f ro m w hich 242 c o m p le te d the te s tin g . T he s u b
j e c ts p a rtic ip a te d in one of two p a r t s of th e study. One w as the in itia l
G u ilfo rd m a r k e r t e s t s e s s io n follow ed by th e a d m in is tra tio n of an in d i
v id u al t e s t of c r e a tiv ity . The se co n d g ro u p p a rtic ip a te d a s a s m a ll
s a m p le to study the r e lia b ility of both F o r m A and F o r m B in a t e s t -
r e t e s t r e lia b ility study. W hen s u b je c ts fa ile d to c o m p le te the se co n d
p o rtio n of th e ir te s tin g , th ey w e r e c o n ta c te d and, if p o s s ib le , w e re
in clu d ed in the s a m p le . In s e v e r a l in s ta n c e s , the s u b je c ts would not
c o o p e ra te and th ey had to be d ro p p e d f r o m the study. A t one of the
lo c a l c o m m u n ity c o lle g e s , s e v e r a l s u b je c ts involved in a E O P P r o
g r a m w e re in cluded in o r d e r to g e t r e p r e s e n ta tio n of the " c u ltu ra lly
d isa d v a n ta g e d . " A ll s u b je c ts u s e d in the f a c to r ia l v a lid ity study w ith
G u ilfo r d 's m a r k e r t e s t s w e re b e tw e e n the a g e s of six te e n y e a r s , z e r o
m o n th s , and e ig h te e n y e a r s , e le v e n m o n th s . T h is w as a ls o done to
f a c ilita te the d e v e lo p m e n t of n o r m s . The d is trib u tio n w as su c h th at
th e r e w e r e nine s ix te e n - y e a r - o ld s , 48 s e v e n te e n - y e a r - o ld s , and 152
e ig h t e e n - y e a r - o ld s . T he p r e p o n d e r a n c e of e ig h te e n - y e a r - o ld s r e f l e c t s
the fa c t th a t th is s a m p le w as la r g e ly d ra w n f ro m c o m m u n ity c o lle g e s .
The r e m a in in g 33 s u b je c ts w e r e o v e r the age of e ig h te e n , but w e re
p r i m a r i l y in v o lv ed in the r e lia b ility study. F o r the s a m p le as a w hole,
th e m e a n age w as 18 y e a r s , 6 m o n th s , and the m o d e w as 18 y e a r s , 11
m o n th s.
A d d itio n al V alidity D ata
In a f u r t h e r a tte m p t to a s s e s s the v a lid ity of th e Individual T e s t
of C re a tiv ity , a d d itio n a l d a ta w e re g a th e re d f ro m sc h o o l r e c o r d s w h e re
p o s s ib le . T h is in fo rm a tio n w as g ro u p e d u n d e r one of s e v e r a l h e a d in g s .
T he f i r s t h e a d in g w as In te llig e n c e In fo rm a tio n . In th is g ro u p th e r e
w e re s e v e r a l s c o r e s p ro v id in g d iffe re n t ty p e s of a s s e s s m e n t of sc h o o l-
r e la te d a b ilitie s . The f i r s t of th e s e w as the S c h o o l-C o lle g e A b ilitie s
T e s t. T he se c o n d w as a c tu a l in te llig e n c e t e s t s c o r e s th a t w e re a v a il
ab le f r o m c u m u la tiv e r e c o r d s in high sch o o l. T h e s e s c o r e s w e re
e ith e r of the W e c h s le r In te llig e n c e S c a le , th e L o r g e -T h o r n d ik e I n te l
lig e n c e S c a le , o r the S ta n fo rd B in et In te llig e n c e S c a le . W h e re v e r s u b
s c o r e s , in t e r m s of v e rb a l and p e rf o r m a n c e IQ s, w e r e a v a ila b le , these|
w e re r e c o r d e d s e p a r a te ly . T he g ra d e point a v e ra g e w a s r e c o r d e d
w h e n e v e r th is w a s a v a ila b le . F o r 85 of the 242 s u b je c ts th e re w e re no j
d a ta a v a ila b le on so m e of the s u b je c ts . Since a c o n s id e r a b le am o u n t of|
both e x p e r im e n te r tim e and s u b je c t tim e w as involved in th is stu d y , it
t
t
w as fe lt th a t it w ould be b e tte r to include s u b je c ts th a t w e re a v a ila b le j
i
ev e n w hen s o m e of th e s tu d e n ts ' r e c o r d s w e r e im c o m p le te .
A d m in is tra tio n and S c o rin g
In o r d e r to f a c ilita te the a d m in is tr a tio n of a la r g e n u m b e r of
in d iv id u al t e s ts , th re e e x a m in e r s w e r e u se d . A ll th r e e e x a m in e r s
w e r e w e ll-q u a lifie d in the a d m in is tr a tio n of individual in te llig e n c e
t e s t s . None had p r io r e x p e rie n c e in a d m in is te rin g t e s t s m e a s u r in g
c re a tiv ity . All th re e e x te n s iv e ly p r a c tic e d both a d m in is tr a tin g and
s c o rin g p r o c e d u r e s b e fo re w o rking w ith the su b je c ts in the s a m p le .
E a c h e x a m in e r w as th en p ro v id e d w ith a g ro u p of s u b je c ts to w hom the
G ro u p T e s t of C r e a tiv ity d e v e lo p e d by G uilford w as a d m in is te r e d f i r s t ,
follow ed by sc h ed u le d a p p o in tm e n ts in w hich the s u b je c ts w e r e g iven
the Individual T e s t of C r e a ti v it y . The e x p e r im e n te r th e n o b tain e d the
sch o o l and co llege r e c o r d s of th o se s u b je c ts who c o m p le te d both f o r m s
of th e c re a tiv ity t e s t s , w h e re th is in fo rm a tio n w as a v a ila b le .
In o r d e r to e n s u r e c o n s is te n c y in both a d m in is tr a tio n and s c o r
in g , the e x p e r im e n te r h im s e lf e v a lu a te d the r e c o r d f o r m s of e a ch of
the e x a m in e r s . W h e n ev e r d is a g r e e m e n ts o v e r s c o rin g o c c u r r e d , th e
e x p e r im e n te r w a s the fin a l a r b i t r a t o r .
D e s c rip tio n of S ta tis tic a l M ethods and
T r e a tm e n t of D ata
1. A f a c to r a n a ly s is of the ite m s on F o r m s A and B of the
IT O C w as m ade to d e te r m in e the n u m b e r of f a c to rs th a t w ould a c c o u n t
fo r the v a ria n c e found in th e s e t e s t s . The p r o g r a m u s e d w a s one th a t
67
w as a v a ila b le f r o m the H e a lth S c ie n c e s C o m p u te r fa c ility a t U C LA ,
n u m b e re d BDX72.
2. The f a c to re d ite m s and s u b te s ts of the ITO C w e re c o r r e
la te d w ith the G u ilfo rd m a r k e r t e s t s by m e a n s of the P e a r s o n P r o d u c t
M o m en t C o r r e la tio n . T h is c o r r e la tio n m a t r ix in v o lv e s a 12 by 6 c o r
r e la tio n m a tr ix . T h is p r o g r a m w as ru n a t the U n iv e rs ity of S o u th e rn
C a lifo rn ia C o m p u te r C e n te r.
3. The In d ividual T e s t of C re a tiv ity y ie ld s not only s u b te s t
s c o r e s but a ls o a v e r b a l, p e r f o r m a n c e , and to ta l s c o r e .
in ad d itio n to the s u b te s t s c o r e s , w e re c o r r e la t e d w ith the follow ing
v a ria b le s : (a) g ra d e p o int a v e ra g e ; (b) s c h o o l-c o lle g e a b ilitie s t e s t s in
t e r m s of n u m e r ic a l, v e r b a l, and to ta l s c o re ; and (c) IQ s c o r e s in t e r m s
of v e rb a l, n o n v e rb a l, and to ta l IQ s c o r e s .
4. An a d d itio n a l a n a ly s is of the In d iv id u al T e s t of C re a tiv ity
w as m ad e by m e a n s of a n a ly z in g the in te r c o r r e la tio n s b e tw e en s u b te s ts
fo r both F o r m s A and B.
5. A ll s c o r e s on the Individual T e s t of C re a tiv ity fo r the s u b
je c ts w e re c o n v e rte d by m e a n s of a p r o g r a m d e v e lo p e d by M r. Young
B. L ee into s ta n d a r d s c o r e s w ith a m e a n of 100 and a s ta n d a rd d e v ia
tio n of fifte e n .
6. An a d d itio n a l r e lia b ility study w as done in w hich 41 s a m p le
s u b je c ts w e re g iv en a t e s t - r e t e s t a d m in is tr a tio n of the Individual T e s t
of C re a tiv ity . Tw enty s u b je c ts w e re a llo c a te d to F o r m A and tw e n ty -
one w e r e a llo c a te d to F o r m B.
7. Since one of the m o tiv a tin g f o r c e s in the d e v e lo p m e n t of the
Individual T e s t of C r e a tiv ity w as an a tte m p t to find b e tte r w ays of
a s s e s s in g th e a b ility of the c u ltu ra lly d isa d v a n ta g e d , m e a n s c o r e s by
s o c io -e c o n o m ic g ro u p s , c la s s if ie d a c c o rd in g to W a r n e r 's c l a s s i f i c a
tion s y s te m , a r e p ro v id e d in C h a p te r IV.
C H A P T E R IV
R E S U L T S O F TH E STUDY
T h is c h a p te r p r e s e n ts the r e s u l ts of th is study in the follow ing
o r d e r :
1. A f a c to r a n a ly s is of the ite m s of the In d ividual T e s t of
C r e a ti v it y , both F o r m s A and B.
2. C o r r e la tio n and f a c to r ia l a n a ly s is of s u b te s ts of the ITOC
w ith the G u ilfo rd m a r k e r t e s t s .
3. C o r r e la tio n a l a n a ly s is of the s u b te s ts fo r the IT O C , both
F o r m s A and B.
4. An a n a ly s is of the r e lia b ility of th e ITOC.
5. C o r r e la tio n of the ITOC w ith (a) g ra d e point a v e ra g e ,
(b) S c h o o l-C o lle g e A b ilitie s T e s t, and (c) IQ S c o r e s .
6. S ta tis tic a l d e s c r ip tio n of ITOC w ith ta b le s c o n v e rtin g the
ra w s c o r e s to s ta n d a r d s c o r e s w ith a m e a n of 100 and a
s ta n d a r d d e v ia tio n of 15 fo r both F o r m s A and B. A d i s
trib u tio n of m e a n s and s ta n d a r d d e v ia tio n s is p ro v id e d by
age. F in a lly , ta b le s of m e a n s and s ta n d a r d d e v ia tio n s a r e
p ro v id e d fo r s o c io -e c o n o m ic d ata.
F a c to r A n a ly s is of the Individual T e s t of C re a tiv ity
T he f a c to r a n a ly s is of the Individual T e s t of C r e a tiv ity w as p e r
fo rm e d a t the U n iv e rs ity C o m p u te r C e n te r of the U n iv e rs ity of S o u th e rn
C a lifo rn ia . To study w hich f a c to rs m ig h t be inv o lv ed in the Individual
69
' * " 70
T e st of C r e a tiv ity , the f a c to r a n a ly s is w as p e r f o r m e d on the s e v e n te e n
ite m s of the ITO C . A c o r r e la t io n m a t r ix for the s e v e n te e n v a r ia b le s
w a s o b tain e d . F r o m th is , th e ro o ts of the c o r r e la t io n w e re e x tr a c te d ,
and on the b a s is of e ig e n v a lu e s , fo u r f a c to r s w e re e s ta b lis h e d . V a r i-
m a x ro ta tio n w a s p e rf o r m e d (se e T a b le 2).
F a c to r I is found on five of the six s u b te s ts of the v e rb a l p a r t of
the ITO C . A ll five v a lu e s a r e above a n e g a tiv e 0. 50. The ite m s on
th e s e s u b te s ts r e q u ir e a v e rb a l p ro d u c tio n . A ll ite m s a r e u n tim e d ,
w ith the g r e a t e r a p p ro p r ia te v e rb a l p ro d u c tio n r e s u ltin g in h ig h e r
s c o r e s .
F a c to r II is lo ad ed on Ite m s 3, 8, 9, 10, 12, and 13. Ite m 3
r e p r e s e n t s the s u b te s t S e n s itiv ity to P r o b le m s ; Ite m s 8, 9, and 10
r e p r e s e n t the O rig in a lity s u b te s t of the v e rb a l p o rtio n ; and Ite m s 12
and 13 r e p r e s e n t R e d e fin itio n A b ility and S e n s itiv ity to P r o b le m s ,
r e s p e c tiv e ly , in the p e r f o r m a n c e p o rtio n of the IT O C . It is d iffic u lt
a t th is p oint to e s ta b lis h w hat th e s e ite m s have in c o m m o n . W ith so m e
e x c e p tio n s , we could d e s c r ib e the c o m m o n b a s is of s u b je c t r e s p o n s e s
a s v e rb a l r e s p o n s e s to a f ig u r a l s tim u lu s . T he h e a v ie s t loading fo r
th is f a c to r is r e p r e s e n t e d by th e v e r b a l O rig in a lity s u b te s t Ite m s 8, 9,
and 10.
F a c to r III is h e a v ily lo ad ed w ith Ite m s 16 and 17. T h e s e r e p
r e s e n t th e p e r f o r m a n c e s u b te s ts of O rig in a lity and P r o p e n s ity fo r
E la b o ra tio n . In th e s e s u b te s ts , the s u b je c ts a r e r e q u ir e d to m a k e
71
T A B L E 2
ITOC F O R M S A AND B R O T A T E D F A C T O R ANALYSIS I
F a c to r
ITO C Item I II HI IV
IV
R ed efin itio n A b ility 1 -0. 81 0. 19 -0 . 08 0. 29
DM T * 2 -0. 85 0. 07 -0 . 08 0. 19
2 V
S e n s itiv ity to
P r o b le m s
3 -0. 61 0. 64 0. 10 -0. 06
CM I* 4 -0. 66 0. 37 0. 12 -0 . 22
3 V
F lu e n c y of T hinking
DM U*
5 -0. 74 0. 21 -0. 20 -0 . 26
4V
F le x ib ility of
T hinking
6 -0 . 70 0 .4 4 0. 00 -0 . 30
DM C * 7 -0. 54 0 .4 5 0. 20 -0. 33
O rig in a lity 8 -0. 09 0. 69 -0. 07 0. 05
5V
D M T *
9 -0 . 23 0. 78 -0 . 22 0. 10
10 -0. 15 0. 69 -0 . 12 0. 11
P r o p e n s ity fo r
6V E la b o ra tio n
DM I *
11 -0. 56 0. 19 -0 . 33 -0. 36
I P
R e d e fin itio n A b ility
N F T *
12 -0. 30 0. 73 -0 . 07 0. 04
S e n s itiv ity to
2 P P r o b le m s
CM I*
13 -0 . 24 0. 54 -0 . 30 -0. 22
3 P
F lu e n c y of T hinking
D F U *
14 -0. 18 -0 . 16 -0 . 39 -0. 62
F le x ib ility of
4 P T hinking
D F C *
15 0. 03 -0 . 07 0. 13 -0. 72
5P
O rig in a lity
D M T *
16 0. 00 0. 08 -0 . 79 -0. 04
P r o p e n s ity f o r
6 P E la b o ra tio n
D F I *
17 -0. 06 0. 35 -0 . 60 -0. 09
H y p o th e s iz e d SI f a c t o r s .
f ig u r a l p r o d u c tio n s . In the p e r f o r m a n c e s u b te s t fo r O rig in a lity , the
s u b je c ts a r e a s k e d to m a k e a line d ra w in g sy m b o liz in g a s e m a n tic
s ta te m e n t. In the s u b te s t P r o p e n s ity fo r E la b o ra tio n , s u b je c ts a r e
p r e s e n te d w ith a s tim u lu s line and to ld to s e e it a s the beginning of a
d ra w in g and to c o m p le te th e d ra w in g . B oth ite m s r e q u ir e so m e f o rm
of f ig u ra l p ro d u c tio n on the p a rt of the s u b je c ts .
F a c to r IV is defined by high n e g a tiv e loadings on the s u b te s ts of
F lu e n c y of T hinking and F le x ib ility of T h in k in g , in the p e rf o r m a n c e
s e c tio n of the IT O C . In th e s e t e s t s , the s u b je c ts a r e a sk e d to p ro d u c e
f ig u r a l d ra w in g s u sing s tim u lu s f ig u r e s p ro v id e d th e m by the t e s t b o o k
le t. In the F lu e n c y of T hinking s u b te s t, th ey a re a s k e d to p ro d u c e a s
m an y o b je c ts w ith a given fig u re (e. g. , a c ir c le ) a s they c a n in a given
tim e p e rio d . In the F le x ib ility of T hinking s u b te s t, they a r e a s k e d to
u s e the f ig u r e s in a s m an y d iffe re n t w ay s a s they can.
A t th is tim e , it w a s d e c id e d to see w hat would hap p en to o u r
f a c to r s if the a n a ly s is w e r e f o rc e d to six f a c to r s . The m a jo r ch an g es
r e s u ltin g fro m th is can be se e n in T a b le 3. The f i r s t change c a u se d by
th is a n a ly s is w a s the e lim in a tio n of Ite m s 1 and 2 f ro m the f i r s t fa c to r.
T h is id e n tifie s F a c to r l a s being I te m s 3, 4, 5, 6, 7, and 11, r e p r e
se n tin g fo u r of the v e rb a l s u b te s ts of the ITO C . In e a c h of th e s e s u b
t e s t s , th e s u b je c ts a r e g iv en v e r b a l in s tr u c tio n s to p e r f o r m c e r ta in
ty p e s of v e r b a l p r o b le m s . In the se c o n d f a c to r , the m a jo r lo ad in g s a r e
found on Ite m s 8, 9, 10, 12, 13, and 3, in th a t o r d e r . T h e r e is little
73
T A B L E 3
ITO C FO R M S A AND B R O T A T E D F A C T O R ANALYSIS II
F O R C E D TO SIX F A C T O R S
F a c t o r
ITO C Ite m I II HI IV V VI
IV
R ed efin itio n
A b ility
DM T
1
2
0. 30
0. 33
0. 24
0. 13
-0. 02
0. 07
0. 85
0. 86
0. 06
0. 01
0. 07
0. 03
2 V
S e n s itiv ity to
P r o b le m s
CM I
3
4
0. 65
0. 69
0 .4 7
0. 22
- 0 .2 3
-0. 03
0. 33
0. 30
-0. 12
-0. 10
0. 07
-0. 07
F lu e n c y of
3V Thinking
DMU
5 0. 77 0. 09 0. 24 0. 29 0. 12 0. 08
4V
F le x ib ility of
T hinking
DMC
6
7
0. 77
0. 73
0. 29
0. 21
0. 08
-0. 17
0. 28
0. 15
-0. 08
-0. 28
0. 00
-0. 01
O rig in a lity 8 0. 09 0. 80 0. 09 0. 08 0. 04 -0. 04
5V 9 0. 25 0. 74 -0. 07 0. 19 0. 00 0. 29
D M T 10 0. 14 0. 73 -0. 01 0. 14 0. 05 0. 09
P r o p e n s ity f o r
6V E la b o ra tio n
DM I
11 0. 75 0. 03 0. 31 0. 06 0. 13 0. 22
R ed efin itio n
I P A b ility
N F T
12 0 .4 3 0. 57 -0. 26 0. 12 -0. 03 0. 26
S e n sitiv ity to
2 P P r o b le m s
CM I
13 0 .4 8 0 .4 8 0. 25 -0. 09 0. 16 0. 17
F lu e n c y of
3 P Thinking
D FU
14 0. 16 -0. 02 0. 80 0. 03 -0. 28 0. 04
F le x ib ility of
4 P T hinking
D F C
15 0. 06 -0. 10 0. 21 -0. 06 -0. 89 -0. 03
5 P
O rig in a lity
D M T
16 -0. 05 0. 12 0 .4 1 0. 04 0. 07 0. 68
P r o p e n s ity f o r
6P E la b o ra tio n
D F I
17 0. 14 0. 16 -0. 12 0. 04 -0. 01 0. 84
......................... " " 74
change in th is f a c to r c o m p a re d to the f i r s t a n a ly s is , e x c e p t fo r a slig h t
shift in w e ig h ts.
The th ir d f a c to r in th is a n a ly s is b e c o m e s Ite m 14. T h is is the
p e rf o r m a n c e s u b te s t F lu e n c y of T hinking. It is the only te s t th a t h as
s u b s ta n tia l w eig h tin g on th is f a c to r (+0. 80), w ith the e x c e p tio n of the
p e rf o r m a n c e s u b te s t O rig in a lity , w hich h as a w eight of + 0 .4 1 .
T he fo u rth f a c to r in the seco n d a n a ly s is is defined by Ite m s 1
and 2. T h e se tw o ite m s of the v e rb a l s u b te s t fo r R e d e fin itio n A bility
a r e p o s itiv e ly w e ig h te d 0. 85 and 0. 86, r e s p e c tiv e ly . In th e s e ite m s ,
the s u b je c ts a r e a s k e d to re d e fin e a doodle into a s m an y d iffe re n t th in g s
a s they can se e.
F a c to r V is d efin e d a s a n e g a tiv e lo ad in g , -0. 89 on Item 4 of the
p e rf o r m a n c e s u b te s t F le x ib ility of T hinking. In th is s u b te s t, the s u b
je c t is p r e s e n te d w ith a v a rie ty of i r r e g u l a r lin e s w hich he is a s k e d to
com bine in as m an y d iff e re n t w ays a s he c a n to m a k e a p ic tu re of
so m e th in g . H is s c o r e is r e p r e s e n te d by the to ta l n u m b e r of d iffe re n t
w ays he u s e s e a c h s y m b o l.
T he six th f a c to r b e c o m e s the s u b te s ts O rig in a lity and P r o p e n
sity fo r E la b o ra tio n . T h e se a r e the only two s u b te s ts th a t h ave s ig n if i
can t w e ig h tin g s on th e s e f a c to r s . R e s p e c tiv e ly , th e ir p o sitiv e w eig h ts
a r e 0 .6 8 and 0. 84. A g a in , both of th e s e s u b te s ts r e q u ir e the p r o d u c
tion of f ig u ra l f o r m s by the s u b je c t.
.................................. 75
B e c a u s e of so m e su b tle d iff e re n c e s in the ite m c o n te n ts b e tw e e n
F o r m A and F o r m B, it w as fe lt a d v is a b le by th is in v e s tig a to r to f a c to r
a n a ly z e the s e v e n te e n ite m s fo r e a c h of the d iffe re n t f o r m s s e p a r a te ly .
A gain , a c o r r e la tio n m a t r ix fo r the s e v e n te e n v a r ia b le s w as o b tain e d .
F r o m th is the r o o ts of the c o r r e la t io n w e re e x tr a c te d and five f a c to r s
w e re o b s e rv e d . V a r im a x r o ta tio n w as p e rf o r m e d . The r e s u l ts of th is
I
a n a ly s is p ro v id e d so m e in te r e s tin g in sig h ts into the d iff e re n c e s
b e tw e en so m e of the ite m s fo r F o r m s A and B of the IT O C , a s indicated;
in T a b le s 4 and 5.
T he f i r s t f a c to r is d efin ed by Ite m s 3, 4, 5, 6 , 7, and 11 on
both f o r m s . On F o r m A, Ite m s 9, 12, and 13 a r e a ls o sig n ific a n tly
w eig h ted on th is f a c to r (se e T a b le 4). In th is a n a ly s is on both f o r m s ,
Ite m s 1 and 2, the v e rb a l R e d e fin itio n A b ilitie s s u b te s t, a r e h e a v ily
w eig h ted a s s e p a r a te f a c to r s . Ite m s 8, 9, and 10, r e p r e s e n tin g th e
v e rb a l s u b te s t of O rig in a lity , have a te n d e n c y to f a c to r out s e p a r a te ly
but in d iffe re n t w ays on F o r m s A and B. On F o r m A, Ite m s 8 and 10
s e p a r a te out a s a sin g le f a c to r , w ith n e g a tiv e lo ad in g s of -0. 77 and
-0. 73. On F o r m B, Ite m s 8 and 9 f a c to r out a s a s e p a r a te f a c to r w ith
p o sitiv e w e ig h ts of 0. 78 and 0 .4 9 . Ite m 10 is w e ig h te d -0. 53 on
a n o th e r f a c to r. The ite m s fo r F lu e n c y of T hinking and F le x ib ility of
Thinking on both f o r m s of th e ITO C a lso f a c to r out a s s e p a r a te ite m s
(-0 . 59 and -0. 73 on F o r m A and +0. 75 and +0. 76 on F o r m B). The
s u b te s ts fo r O rig in a lity and P ro p e n s ity fo r E la b o ra tio n in the p e r -
T A B L E 4
R O T A T E D F A C T O R ANALYSIS O F ITO C F O R M A
F a c to r
SI F a c to r S u b te sts Ite m I II i n IV V
V e rb a l
DM T R ed efin itio n A b ility
1
2
-0. 34
- 0 .4 0
0. 12
0. 00
0. 86
0. 83
0. 03
-0. 01
-0. 02
-0. 02
CM I S e n s itiv ity to P r o b le m s
3
4
-0. 79
-0. 72
-0. 09
-0. 13
0. 28
0. 25
0. 13
-0. 04
0. 00
-0. 09
DMU F lu e n c y of Thinking 5 -0 . 82 -0. 14 0. 31 -0. 01 - 0 .0 2
DMC F le x ib ility of Thinking
6
7
-0. 78
-0. 83
-0. 15
-0. 19
0. 33
0. 16
-0. 07
0. 04
-0. 08
-0. 04
8 -0. 34 0. 18 -0. 11 0. 01 -0. 77
DM T O rig in a lity 9 -0. 60 0. 30 -0. 21 0. 02 -0. 28
10 0. 04 -0. 21 0. 10 0. 00 -0. 73
DMI P r o p e n s ity f o r E la b o ra tio n 11 -0. 71 -0. 23 0. 16 0. 17 0. 03
P e r f o r m a n c e
N F T R ed efin itio n A b ility 12 -0. 53 0. 03 0. 05 0 .4 2 -0. 33
CM I S e n sitiv ity to P r o b le m s 13 -0. 51 -0. 32 -0. 05 0. 03 -0. 18
D FU F lu e n c y of T hinking 14 -0. 25 -0. 59 0. 10 0. 03 -0. 21
D F C F le x ib ility of T hinking 15 -0. 22 -0. 73 -0. 20 -0. 09 0. 12
D M T O rig in a lity 16 0. 06 -0. 13 0. 26 0. 72 - 0 .4 0
D F I P r o p e n s ity f o r E la b o ra tio n 17 -0. 12 0. 14 -0. 18 0. 80 0. 27
T A B L E 5
R O T A T E D F A C T O R ANALYSIS O F ITO C F O R M B
F a c to r
SI F a c t o r S u b te sts Ite m I II HI IV V
Ve rb a l
DM T R ed efin itio n A bility
1
2
-0. 18
-0. 25
0. 06
-0. 03
-0. 06
-0. 01
-0. 85
-0. 80
0. 00
-0. 02
CM I S e n s itiv ity to P r o b le m s
3
4
-0. 77
-0 . 68
-0. 02
-0. 10
0. 05
0. 14
-0. 37
-0. 40
0. 10
0. 13
DMU F lu e n c y of Thinking 5 -0. 68 0. 20 0. 02 -0. 37 0. 13
DMC F le x ib ility of Thinking
6
7
-0. 85
-0. 78
-0. 02
0. 10
0. 05
0. 00
-0. 17
0. 07
0. 08
- 0 .2 7
8 -0. 06 -0. 11 0. 00 0. 09 0. 78
DM T O rig in a lity 9 - 0 .0 5 0. 30 0. 01 -0. 18 0 .4 9
10 -0. 28 0. 11 -0. 53 0. 11 0 .0 3
DMI P r o p e n s ity f o r E la b o ra tio n 11 -0. 75 0. 21 0. 05 -0. 03 0. 21
P e r f o r m a n c e
N F T R ed efin itio n A b ility 12 -0. 39 0 .4 9 -0. 11 0. 05 0. 00
CM I S e n sitiv ity to P r o b le m s 13 -0. 25 0. 54 -0. 09 0. 15 0. 37
D FU F lu e n c y of Thinking 14 -0. 31 -0 .0 1 0. 75 0. 11 0. 07
D F C F le x ib ility of T hinking 15 -0. 11 0. 12 0. 76 0. 04 -0. 03
DM T O rig in a lity 16 0. 00 0. 77 0. 11 0. 07 0. 17
D F I P r o p e n s ity f o r E la b o ra tio n 17 0. 07 0. 67 0. 01 -0. 23 0. 15
fo rm a n c e s e c tio n a r e a ls o a g a in fa c to re d out s e p a r a te ly . The m a jo r
d iff e r e n c e s b e tw e en the tw o f o r m s s e e m to o c c u r w ith Ite m s 8, 9, 10,
12, and 13. Ite m s 12 and 13 have the g r e a t e s t c o m m u n a lity w ith the
v e rb a l p o rtio n d e s c r ib e d a s Ite m s 3, 4, 5, 6, 7, 9, and 11 on F o r m A.
H o w e v e r, on F o r m B the g r e a t e s t c o m m u n a lity show n by Ite m s 12 and
13 is found in the p e r f o r m a n c e p o rtio n on the s a m e f a c to r s a s Ite m s 16
and 17. Ite m s 8, 9, and 10 f a c to r o u t in d iffe re n t w ay s. On F o r m A,
Ite m 9 a g a in is c o r r e la t e d w ith the f i r s t f a c to r , w h e r e a s Ite m s 8 and 10
c o r r e l a t e out a s a s e p a r a te f a c to r of th e ir own. On F o r m B , Ite m s 8
and 9 f a c to r out, w h e r e a s Ite m 10 h a s its g r e a t e s t loading a s a -0 . 53
on the s a m e c o m m o n f a c to r a s the p e r f o r m a n c e s u b te s ts fo r F lu e n c y of
T hinking and F le x ib ility of T hinking, w hich a r e both w eig h ted a s +0. 75
and +0. 76.
A t th is p o in t, no a tte m p t w ill be m a d e to n a m e th e s e f a c to r s .
In the n e x t s e c tio n , we w ill d is c u s s th e r e la tio n s h ip s b etw een th e s e
f a c to r s and the stu d y w ith G u ilfo rd 's m a r k e r t e s t s , and a tte m p t to
a r r i v e a t an e x p la n a tio n of th e s e lo ad in g s.
F a c to r i a l V a lid ity - - G u ilf o rd M a r k e r T e s t and ITO C
Upon c o m p le tio n of the f a c to r a n a ly s is , th e n e x t s te p w as to
study the m a r k e r t e s t v a lid ity . T h is w as done by m e a n s of c o r r e la tin g
a ll the s u b te s ts of the IT O C w ith th e G u ilfo rd m a r k e r t e s t s . The next
p r o c e d u r e involved c o m b in in g ite m s w ith h e a v y lo a d in g s on the f a c to r s
79
th a t r e s u lte d fro m the ro ta te d a n a ly s is and c o r r e la tin g th e se w ith the
m a r k e r t e s t s (see T a b le s 6, 8, and 9). A th ird a n a ly s is was the
d e s c r ip tio n of the in te r c o r r e l a ti o n b e tw e e n the m a r k e r te s ts and e a c h
f o r m of the ITOC (T ab le 7).
The s u b te s t c o r r e la tio n s w ith the G u ilfo rd m a r k e r t e s t s , in
g e n e r a l, tend to show a low to m o d e r a te c o r r e la tio n (se e T able 6).
The R e d e fin itio n A bility s u b te s t, F o r m A , c o r r e l a t e s + 0.30 w ith the
G u ilfo rd m a r k e r U tilitie s T e s t (DM C). It w as h y p o th e siz e d th a t the
R e d e fin itio n A bility s u b te s t w ould m e a s u r e the Si fa c to r DM T. The
U tilitie s T e s t, in t e r m s of th e SI m o d e l, m e a s u r e s the fa c to r D M C, o r
sp o n ta n e o u s fle x ib ility . By e x a m in in g T a b le 6, it w ill be a p p a re n t th a t
all of the s u b te s ts fo r the v e r b a l F o r m A of the ITOC have t h e i r g r e a t
e s t lo ad in g s on this U tilitie s T e s t. The only e x c e p tio n to th is is r e p
r e s e n te d by the s u b te s t O rig in a lity , w hich h a s its g r e a t e s t load in g on
the G u ilfo rd m a r k e r te s t O b je c t S y n th e sis (NM T).
In the p e rf o r m a n c e s e c tio n of F o r m A, the R ed efin itio n A bility
s u b te s t h a s its h ig h e s t c o r r e la t io n w ith th e G u ilfo rd m a r k e r t e s t F i g
u r e P ro d u c tio n . In the o rig in a l d e v e lo p m e n t of the IT O C , it w a s
h y p o th e s iz e d th a t P e r f o r m a n c e R e d e fin itio n A b ility w ould c o r r e la te
w ith the SI m o d el C o n v e rg e n t P ro d u c tio n of F ig u r a l T ra n s f o r m a tio n .
H o w e v e r, the loading on the G u ilfo rd m a r k e r t e s t for C o n v e rg e n t
S e m a n tic T r a n s f o r m a tio n is + 0 .0 6 . In th is s e c tio n , th e s u b te s t S e n s i
tiv ity to P r o b le m s s e e m s to be e q u a lly p o s itiv e ly c o r r e la te d w ith two
T A B L E 6
CORRELATION OF ITOC SUBTESTS TO GUILFORD MARKER TEST
F o r m A ITOC Subtests F o rm B
VI 0. 12 0. 30 0 .0 9 0 .0 2 0 .0 7 0.01 Redefinition Ability -0 .0 4 0 .0 7 0.02 0. 07 0.01 0. 11 DMT
V2 0. 16 0 .2 9 0. 13 0. 21 0 .0 4 0. 17 Sensitivity to P ro b le m s 0. 19 0 .2 5 0. 27 0. 18 0 .2 6 0. 33 CMI
V3 0 .0 4 0. 30 0 .0 9 0 .0 3 0 .0 3 0 .0 6 F luen cy of Thinking 0. 17 0 .2 5 0. 32 0. 03 0 .2 7 0. 21 DMU
V4 0. 13 0 .2 8 0. 17 0 .0 7 0 .0 7 0 .0 9 F lex ib ility of Thinking 0. 17 0 .2 3 0. 19 0 .0 9 0. 31 0. 38 DMC
V5 0. 15 0 .2 0 0. 19 0 .0 9 0 .0 2 0 .2 3 O riginality 0. 08 0. 04 0. 19 0. 05 0. 30 0. 11 DMT
V6 0. 10 0 .2 5 0. 11 •0. 05 0. 15 0. 15 P ro p e n s ity fo r E labo ra tio n 0 .2 6 0 .2 8 0. 30 0. 13 0. 30 0. 13 DMI
PI 0. 17 0. 16 0.21 0. 02 0. 13 0. 06 Redefinition Ability 0. 29 0. 22 0 .2 0 0. 06 0. 21 0. 16 NFI
P2 0. 11 0. 15 -0 .0 7 0 .0 6 0 .0 7 0 .0 3 Sensitivity to P ro b le m s 0 .0 8 0. 17 0 .2 9 0 .2 4 0.21 0. 16 CMI
P I 0. 19 0. 39 0. 23 0. 23 0. 29 0. 27 F lu ency of Thinking 0. 28 0. 05 0. 28 0. 03 0. 10 0. 25 DFU
P4 0. 37 0 .0 9 0 .2 6 0. 11 0. 18 0 .0 6 F lex ib ility of Thinking 0. 28 0 .0 8 0.21 0 .0 7 0.01 0. 15 DFC
P5 0. 16 0. 14 0. 16 0. 17 0. 17 0 .2 5 O riginality 0. 02 0 .0 0 0. 17 -0. 18 0. 00 0 .0 8 DMT
P6 -0 .0 5 -0 .0 7 -0 .0 3 -0.07 -0 .0 1 -0 .0 3 P ro p e n sity fo r E lab o ration 0. 15 0 .2 7 0 .4 5 0 .0 4 0. 16 0. 19 D FI
D FS DMC D FI CMI DMT NMT DFS DMC D FI CMI DMT NMT
G uilford M a rk e r T e sts j G uilford M a rk e r T e sts
00
o
T A B L E 7
IN T E R C O R R E L A T IO N O F G U IL FO R D M A R K ER T E S T S F O R EACH SA M PL E
D FS
DMC
D F I
CM I
DM T
NMT
F o r m A
G u ilfo rd
M a r k e r T e st
F o r m B
D FS DM C D F I C M I DM T NM T D FS DMC D F I CM I D M T NM T
1 .0 M aking O b je c ts 1 .0
0 .2 5 1 .0 U tilitie s T e st 0 .2 9 1 .0
0. 33 0. 18 1 .0 F ig u r e P ro d u c tio n 0 .4 7 0 .2 9 1 .0
0. 30 0. 32 0 .1 3 1 .0 S eein g P ro b le m s 0. 10 0 .2 7 0 .0 5 1 .0
0. 29 0. 34 0 .4 5 0 .2 5 1 .0 S ym bol P ro d u c tio n 0 .4 2 0 .2 0 0. 52 0 .2 2 1 .0
0 .2 9 0. 30 0 .2 1 0 .3 6 0 .2 6 1 .0 O b ject S y n th e sis 0. 18 0 .4 0 0 .4 4 0. 33 0 .4 3 1 .0
D F S
DMC
D F I
CM I
DM T
NM T
TA BLE 8
CORRELATION B E T W E E N GUILFORD M ARKER TESTS AND
FA C TO R ED ITEMS O F THE ITOC FORM A
Guilford M a rk e r T est
ITOC Item s F a c to r DFS DMC DFI CMI DMT NMT
3, 4, 5, 6, 7
11, 12, 13
I
r
Sig.
0. 14
0. 06
0. 31
0. 001
0. 13
0. 08
0. 07
0. 23
0. 07
0. 23
0. 09
0. 17
14, 15 II
r
Sig.
0. 36
0.001
0. 22
0. 01
0. 29
0. 002
0. 15
0. 06
0. 23
0. 009
0. 14
0. 07
1, 2 IH
r
Sig.
0. 15
0.06
0. 29
0. 002
0. 08
0. 19
-0. 05
0. 29
0. 08
0. 19
-0. 03
0. 36
16, 17 IV
r
Sig.
0. 02
0 .40
-0.003
0.4 8
0. 04
0. 31
-0.002
0 .4 9
0. 07
0. 23
0. 08
0. 20
8, 9 V
r
Sig.
0. 17
0. 04
0. 16
0. 05
0. 15
0. 05
0. 12
0. 11
0. 02
0. 42
0. 20
0. 02
TA BLE 9
CORRELATION B E TW EEN GUILFORD M ARKER TESTS AND
FA CTO RED ITEMS OF THE ITOC FORM B
Guilford M a rk e r T e st
ITOC Item s F a c to r DFS DMC D FI CMI DMT NMT
3, 4, 5, 6,
7, 11
I
r
Sig.
0. 23
0. 01
0. 27
0. 002
0. 31
0. 001
0. 11
0. 12
0. 37
0. 001
0. 39
0. 001
14, 15 II
r
Sig.
0. 33
0. 001
0. 03
0. 37
0. 25
0. 004
0. 05
0. 29
0. 03
0. 38
0. 18
0.03
1. 2 III
r
Sig.
-0. 03
0. 38
0. 05
0. 28
0. 01
0.43
0. 11
0. 13
0. 02
0. 40
0. 11
0. 12
16, 17
12, 13
IV
r
Sig.
0. 21
0. 01
0. 25
0. 005
0. 42
0. 001
0. 02
0. 38
0. 20
0. 02
0. 22
0. 01
o
00
V
r
Sig.
0. 008
0.46
0. 14
0. 07
0. 22
0.01
0. 22
0. 01
0. 19
0. 02
0. 08
0. 19
83
of the m a r k e r te s ts , one c o rr e la tio n being 0. 15 with the subtest
Utilities T e st (DMC), and the other being 0. 14 with the Making O bjects
m a r k e r te s t (DFS). N either of th ese c o rre la tio n s could be c o n sid e red
highly significant. In the original developm ent of the ITOC, the p e r
fo rm a n ce subtest Fluency of Thinking was hypothesized to c o rr e la te
with the SI fac to r DFU, but has its higher loadings on the U tilities T e s t
(DMC), w here r = +0.39. T h e re is also a slight loading on the m a r k e r
te s t Symbol P roduction (DMT).
It was hypothesized that the p e rfo rm a n c e su b te st Flexibility of
Thinking would c o rr e la te with the SI D F T . The Guilford m a r k e r U tili
ties T e s t is, in te r m s of SI fa c to rs , m e a s u rin g the cell DMC. The
positive c o rre la tio n betw een these two is 0. 09. It is also w orth noting
that th ere is a com m on v a ria n c e with the m a r k e r te s t F ig u re P r o d u c
tion (DFI). The c o rre la tio n h e re is +0.26 and r = +0. 37 with the M a k
ing O bjects te s t being the highest.
The p e rfo rm a n c e s u b te st of O riginality w as hypothesized to
c o rr e la te with the SI fac to r D ivergent P ro d u c tio n of Sem antic T r a n s
fo rm a tio n s (DMT). Although the c o rre la tio n s a r e slight (+0.25), it
would se e m that the s u b te st for O riginality c o r r e la te s with C onvergent
Pro d u ctio n of Sem antic T ra n sfo rm a tio n s (NMT), a s m e a s u r e d by G u il
fo rd 's m a r k e r test, O bject Synthesis. The la s t su b te st in F o r m A,
P ro p e n sity for E lab o ra tio n , has a consistently v e r y low negative c o r
rela tio n with all of the m a r k e r te s ts .
85
When looking at F o r m B, we notice a significant change. The
c o rre la tio n s for the su b te sts of the ITOC and the Guilford m a r k e r te s ts
do not provide the sam e p a tte rn of c o rr e la tio n s that w ere found betw een
F o r m A and the m a r k e r te s ts . The p a tte rn found for F o r m B is as
follows:
1. The v erb al Redefinition Ability subtest does not c o rr e la te
significantly with any of the Guilford m a r k e r te s ts . Its h ig h est c o r r e
lation is +0. 11 (see Table 6), which is the m a r k e r te s t O bject Synthe
sis (NMT).
2. The m o st significant loading for the v erb al su b te st S e n s i
tivity to P r o b le m s was on G u ilfo rd 's m a r k e r te s t Object Synthesis
(NMT). This w as not in the p red ic te d d irection. It was originally
hypothesized that the Sensitivity to P r o b le m s subtest would c o rr e la te
with the Guilford m a r k e r te s t Seeing P r o b le m s (CMI). The c o rr e la tio n
with this m a r k e r te s t is +0. 18.
3. The v e rb a l Fluency of Thinking subtest in F o r m B has its
hig h est c o rre la tio n with the G uilford m a r k e r te s t F ig u re P ro d u ctio n
(DFI). It also has significant positive but low c o rre la tio n s with two
o th er m a r k e r te s ts , the m a r k e r t e s t Symbol P roduction (DMT) and the
m a r k e r te s t U tilities T e st, with c o rr e la tio n s of 0 .27 and 0 .2 5 ,
resp e c tiv e ly .
4. The Flexibility of Thinking s u b te st has its h ig h est loading
on the Guilford m a r k e r te s t O bject Synthesis (NMT). The F lexibility of
86
Thinking s u b te s t w as hypothesized a s m e a s u rin g the SI fac to r DMC;
how ever, the O bject Synthesis m a r k e r te s t m e a s u r e s the SI factor
NMT. It is significant, how ever, to note that th e re a r e two other
m o d e ra te c o rr e la tio n s with the Guilford m a r k e r te s ts . The f ir s t is the
Symbol P ro d u c tio n m a r k e r te s t SI factor DM T, and the o th er is the
Utilities m a r k e r t e s t SI fac to r DMC. T hese la tte r two c o rre la tio n s
a re +0.31 and + 0 .2 3 , resp e c tiv e ly .
5. The v e rb a l O riginality subtest positively c o r r e la t e s 0.30
with its hypothesized Guilford m a r k e r te s t Symbol P roduction. The SI
factor in com m on to both of these te s ts is DMT.
6. The P ro p e n sity for E laboration portion of the v e rb a l form
of the ITOC h a s low c o rre la tio n s with four of the six Guilford m a r k e r
tests. They a r e , in o r d e r , the m a r k e r te s t Symbol Production
(r = +0.30), F ig u re P ro d u ctio n (r = +0.30), Utilities T e s t (r = +0.28),
and Making O bjects T e s t (r = +0.26).
In the p e rfo rm a n c e section of F o r m B, we find:
1. The Redefinition Ability subtest has its hig h est positive
c o rre la tio n with the m a r k e r test Making Objects (r = +0. 29)- It was
hypothesized that th is su b te st would c o rr e la te with the Guilford m a r k e r
te s t O bject S ynthesis (NMT), which m e a s u r e s the Redefinition Ability
factor in the G uilford G roup T e st of C reativity.
2. The p e rfo rm a n c e Sensitivity to P r o b le m s subtest h a s its
g r e a te s t loading on F ig u re Production (DFI). In the Guilford m a r k e r
te s t that m e a s u r e s the SI factor D FI, the c o rre la tio n was +0. 29.
3. It w as hypothesized that the Fluency of Thinking subtest
would c o rr e la te with the SI facto r DFU. The Guilford m a r k e r te s t
m e a s u r in g a s im ila r factor is titled Making O bjects. It is hypothesized
by Guilford that this te s t m e a s u r e s the SI factor DFS. It is also i m p o r
tant to note that this subtest c o r r e la te s with the Guilford m a r k e r te s t
F ig u re P ro d u c tio n (DFI).
4. The p e rfo rm a n c e su b test Flexibility of Thinking in F o r m B
p rovides a s im ila r p icture with its highest positive c o rre la tio n of 0 .2 8
on the Guilford m a r k e r te s t M aking O bjects (DFS), and the next hig h est
c o rr e la tio n of 0. 21 with the m a r k e r te s t F ig u re P ro d u ctio n (DFI).
5. The p e rfo rm a n c e su b test O riginality does not seem to c o r
re la te positively with its hypothesized m a r k e r te s t Symbol Production.
6. The last su b te st of the p e rfo rm a n c e section of F o r m B,
P ro p e n sity for E lab o ra tio n , does c o rr e la te significantly, r = +0.45,
with its hypothesized m a r k e r te s t F ig u re P roduction (DFI).
P re v io u sly , the w rite r noted that in the factor analysis of the
ITOC ite m s , th eir fa c to r loadings w e re not n e c e s s a rily c o n sisten t with
th e ir su b te st placem ent. T h e re fo re , to com plete the m a r k e r validity
study, it w as deem ed n e c e s s a r y to c o rr e la te the ite m s on each of the
five fa c to rs with the Guilford m a r k e r te s ts to see if this substantially
changed the com m onality betw een the Guilford m a r k e r te s ts and the
ITOC. The r e s u lts of this an a ly sis can be found in T ables 8 and 9. In
the analysis of the m a r k e r te s t validity p re s e n te d thus far, it has been
noted that th e r e w e re som e diffe re n c es in the r e s u lts for the in ter c o r
relatio n s of F o r m A on G uilford's m a r k e r te s ts and F o r m B. This d if
fere n c e o c c u rs in spite of an o v e ra ll s im ila rity in the r e s u lts of the
rotated factor a n a ly sis found in T ables 2 and 3. It will be seen fro m
an a n a ly sis of T ables 4 and 5 that the g r e a t e s t difference betw een
F o r m s A and B o c c u rs in the v e rb a l O riginality subtest and the p e r
fo rm a n ce su b te sts Redefinition Ability and Sensitivity to P r o b le m s .
T h e re fo re , in F o r m A, the item s on the v e rb a l Sensitivity to P r o b le m s
su b test Item s 3 and 4, Fluency of Thinking (Item 5), Flexibility of
Thinking (Item s 6 and 7), v e rb a l O riginality (Item 9), v erb al P r o p e n
sity for E la b o ra tio n (Item 11), p e rfo rm a n c e Redefinition Ability (Item
12), and p e rfo rm a n c e Sensitivity to P r o b le m s (Item 13) a re all weighted
on F a c to r I. The g r e a t e s t com m onality on the Guilford m a r k e r te sts
for this factor is found in the U tilities T est. In t e r m s of the SI t r ilo -
g r a m , this m e a s u r e s D ivergent P ro d u c tio n of S em antic C la s s e s (DMC).
The second factor is com posed of Ite m s 14 and 15. T hese
r e p r e s e n t the p e rfo rm a n c e sub tests Fluency of Thinking and Flexibility
of Thinking. T h ese c o rr e la te significantly with the Guilford m a r k e r
test Making O b je c ts, which m e a s u r e s the SI cells D ivergent P ro d u ctio n
of F ig u ra l S y stem s (DFS). The c o rr e la tio n betw een these two is +0. 36.
The th ird fa c to r is com posed of the v e rb a l s u b te s t Redefinition
Ability, Item s 1 and 2. T hese ite m s c o r r e la te , h o w ev er, m o s t highly
with the Utilities m a r k e r te s t (DMC).
The fourth fa c to r w as c om posed of Item s 16 and 17. T hese
re p r e s e n te d the p e rfo rm a n c e su b te sts for O riginality and E la b o ra tio n .
F o r F o r m A, how ever, th e r e did not se em to be any significant v a r i
ance in com m on with G u ilfo rd 's m a r k e r tests. The c o rr e la tio n s on the
Guilford m a r k e r te s ts ranged f ro m a low -0. 003 to a positive c o r r e l a
tion of 0.07.
The fifth factor found in the ro tated factor a n aly sis of F o r m A
of the ITOC w as com posed of Ite m s 8 and 9 in the v e rb a l O riginality
te s t. The m o s t significant c o rr e la tio n was low (0. 20) with the Guil-
%
ford m a r k e r O bject S ynthesis. T his w as not in the hypothesized d i r e c
tion. The Guilford m a r k e r te s t O bject Synthesis m e a s u r e s C onvergent
Pro d u ctio n of Sem antic T ra n s f o r m a tio n s (NMT), and it w as hypothe
sized that the originality ite m s would m e a s u r e D ivergent P ro d u c tio n of
S em antic T ra n sfo rm a tio n s .
When this p ro c e d u re is p e rfo rm e d on F o r m B of the ITOC,
som e changes occur. F a c to r I w as com posed of Item s 3 and 4, v e rb a l
su b test Sensitivity to P r o b le m s ; Item 5, Fluency of Thinking; Item s 6
and 7, Flexibility of Thinking; and Item 11, P ro p e n sity for E la b o ra tio n
- - a l l p a rt of the v e rb a l section of the ITOC. The hig h est c o rr e la tio n
for this factor is with the G uilford m a r k e r te s t Object Synthesis
(r = +0.39), m e a s u rin g the SI cell NMT. H ow ever, th e re w e re signifi
cant co m m o n alities found on two o th e rs of the Guilford m a r k e r te s ts ,
90
one being Symbol P roduction (DMT) and the o th er F ig u re P roduction
(DFI). The c o rr e la tio n s w e re r = +0.37 and r = +0.31, resp e c tiv e ly .
F a c to r III (F a c to r II in F o r m A) is com posed of Item s 14 and 15,
which r e p r e s e n t the p e rfo rm a n c e su b te sts Fluency of Thinking and
Flexibility of Thinking. H e re th ere is a g re a t s im ila rity betw een the
r e s u lts on F o r m s A and B. The g r e a te s t positive c o rr e la tio n is with
the M aking O bjects (DFS) m a r k e r te s t (r = +0. 33). The next highest
c o rre la tio n (+0.25) is with the F ig u re P ro d u ctio n (DFI).
F a c to r IV on F o r m B is also the sa m e a s F a c to r III in F o r m A,
Item s 1 and 2, Redefinition Ability. H ow ever, in this an a ly sis the third
factor does not significantly c o rre la te with any of the Guilford m a r k e r
te s ts . The highest c o rr e la tio n of +0. 11 is with the Guilford m a r k e r
te s t O bject S ynthesis, which is Redefinition Ability, its hypothesized
factor. H ow ever, th e re is a c o rre la tio n of +0. 11 with the Guilford
subtest Seeing P r o b le m s .
F a c to r II (sam e as F a c to r IV on F o r m A) is, f i r s t of all, c o m
posed of Item s 16 and 17, which r e p r e s e n t the p e rfo rm a n c e subtests for
O riginality and E la b o ra tio n . This s e e m s to have its g r e a te s t v ariance
on the E la b o ra tio n fa c to r m e a s u r e d by the Guilford m a r k e r test, F ig u re
Production. The c o rre la tio n with this te s t is + 0.42. It is also i m p o r
tant to note that Item s 12 and 13 also contribute to so m e of the va ria n ce
of this factor. This is a shift when c o m p a red with F o r m A, w here
Item s 12 and 13 contributed v a ria n ce to the f ir s t factor.
' ' 91
The fifth factor is com posed of Ite m s 8 and 9, two of the item s
on the v e rb a l O riginality subtest. T h eir g r e a te s t c o rre la tio n s e e m s to
be with the Guilford m a r k e r te s ts F ig u re P ro d u c tio n and Seeing P r o b
le m s , the c o rr e la tio n being +0. 22 in both c a se s .
Inter cor rela tio n of the Subtests of the ITQC
In the developm ent of the Individual T e s t of C re a tiv ity , it was
intended that it be developed along the lines of the W echsler Intelli
gence Scale. A s R i s s e r stated:
D r. Newton M e tfe sse l, p r o fe s s o r of education at the U n i
v e rs ity of Southern C alifornia and d i re c to r of P r o je c t P otential,
conceived the idea of developing the b e st possible v e rb a l te s t and
the b e s t possible p e rfo rm a n c e te s t following the W e ch sler p r o to
type, for the c re a tiv e abilities Guilford has identified. It is well
known that c re a tiv ity is exem plified in m any different w ays. Some
p e rs o n s have c re a tiv e ideas but lack c re a tiv ity in e x p re s s in g
them . . . . If it is tru e that the p e rs o n who is verbally fluent,
flexible, and original m ay not be fluent, flexible, o r original
when it co m es to e x p re s s io n with b ru sh o r quill, it would se e m
that both v e rb a l and p e rfo rm a n c e c re a tiv ity m u st be a c c e s s e d
before th ere can be an u n d e rsta n d in g of how these a b ilities m ay
be com bined. ( R is s e r , 1966, p. 43)
One way of a c c e s s in g the m eaningfulness of the distinction betw een the
v erb al and p e rfo rm a n c e portions of the Individual T e s t of C reativity is
to look at the s u b te st in te r c o r re la tio n s . The r e s u lts f ro m the te sts
a d m in is te re d individually to the 200 subjects u se d in the M a r k e r F a c
to ria l Validity Study can be seen in T ables 10 and 11. The i n t e r c o r r e
lations betw een the v e rb a l su b te s ts ran g e fro m a low positive c o r r e l a
tion of 0. 21 betw een R edefinition Ability and O riginality to a high of
TA BLE 10
ITOC SUBTEST INTERCORRELATIONS, FO R M A
V -l V-2 V-3 V -4 V-5 V-6 P - l P - 2 P -3 P - 4 P - 5 P - 6
V -l 1.0 0. 67 0. 66 0. 67 0.21 0 .4 8 0. 34 0. 25 0 .25 0.01 0. 14 -0. 02
V-2 1.0 0. 75 0. 79 0. 34 0. 63 0 .4 5 0. 38 0. 30 0. 19 0. 11 0. 05
V-3 1.0 0. 80 0. 29 0. 70 0 .47 0. 35 0. 32 0 .9 0. 05 0. 01
V -4 1.0 0. 35 0. 64 0. 52 0. 39 0. 36 0. 26 0. 11 0. 00
t
>
1.0 0. 32 0. 38 0. 24 0. 19 0. 05 0. 23 0. 02
V-6 1.0 0 .4 4 0 .4 5 0. 25 0. 21 0. 12 0. 11
P - l 1.0 0. 42 0. 15 0. 04 0. 03 0. 17
P -2 1.0 0. 32 0. 16 0. 10 -0. 03
P -3 1.0 0. 27 0. 08 -0. 10
P - 4 1.0 -0. 04 -0. 06
P -5 1.0 0. 26
P - 6 1.0
sO
| tNi
TA BLE 11
ITOC SUBTEST INTERCORRELATIONS, FO R M B
V - l V-2 V-3 V-4 V-5 V-6 P - l P -2 P -3 P - 4 P -5 P - 6
V -l 1.0 0 .4 9 0.43 0 .2 7 0. 09 0. 21 0. 12 -0. 01
i
o
o
tsJ
0. 00 -0. 04 0. 12
V-2 1.0 0. 61 0. 58 0. 13 0. 50 0. 19 0. 17 0. 13 0. 14 -0. 06 0. 09
V-3 1.0 0. 50 0. 21 0. 59 0. 26 0. 26 0. 10 -0. 01 0 .25 0. 24
V -4 1.0 0. 21 0. 54 0. 34 0. 17 0. 18 0. 12 0. 07 -0. 02
V -5 1.0 0. 26 0. 15 0. 17
1
O
o
0. 05 0. 06 0. 10
V-6 1.0 0.40 0. 35 0. 22 0. 11 0. 12 0 .27
P - l 1.0 0. 32 -0. 03 0. 06 0. 18 0. 14
P -2 1.0 0. 00 -0. 01 0. 29 0. 19
Pr-3 1.0 0.40 0. 09 -0. 03
P - 4 1.0 0. 08 0. 12
P -5 1.0 0. 31
P - 6
■
1.0
+0. 80 betw een Fluency of Thinking and Flexibility of Thinking. In the
p e rfo rm a n c e su b test of F o r m A, the in te r c o r re la tio n s range f ro m -0.10
betw een Fluency of Thinking and P ro p e n sity of E la b o ra tio n to a high of
+0.42 betw een the Redefinition subtest and Sensitivity to P r o b le m s su b
test. On the a v e ra g e , the in te rc o rre la tio n betw een the v e rb a l subtests
is hig her than the in te r c o r re la tio n betw een the p e rfo rm a n c e su b te sts.
The in te r c o r re la tio n betw een the v e rb a l and the p e rfo rm a n c e
su b te sts ra n g e s fro m a low of -0. 02 to a high of +0. 52. In g e n e ra l, the
c o rre la tio n s a re low to m o d e ra te and suggest the independence of the
two su b te sts.
The r e s u lts p re s e n te d in Table 11 for F o r m B of the ITOC p r e
sent an even b e tte r p ic tu re . The v e rb a l su b tests in te r c o r r e la te with
each other ranging fro m a low of +0. 09 to a high of +0. 61 betw een the
Redefinition Ability su b te st and the subtest for O riginality, and the
Sensitivity to P r o b le m s s u b te st and the Fluency of Thinking subtest,
re sp e c tiv e ly . The inter c o rr e la tio n s betw een the p e rfo rm a n c e s u b
te s ts range fro m a negative 0. 03 to a high positive c o rre la tio n of 0.40.
The in te rc o rre la tio n s betw een the p e rfo rm a n c e su b tests and the v e rb a l
subtests ran g e fro m a negative 0 .02 to a positive 0 .4 0 . It is i n t e r e s t
ing to note that m o st of the in te rc o rre la tio n s betw een the v e rb a l and
p e rfo rm a n c e subtests a r e rela tiv e low to negative. Out of 36 c o r r e l a
tions, 27 a r e below 0. 20. It can be seen by exam ining T ables 10 and II
that in g e n e ra l the v e rb a l subtests in te r c o r r e la te with each o th er m o re
highly than do the p e rfo rm a n c e s u b te s ts, and that th e re is c o m p a r a
tively little c o rre la tio n betw een the v e rb a l and p e rfo rm a n c e su b te sts in
the ITOC.
T e s t R eliability of ITOC
To test the reliability of the ITOC, 42 individuals w ere a d m in
is te re d F o r m A o r F o r m B on one o c c asio n , and then on a subsequent
o ccasio n in an in te rv al of tim e f ro m seven to fourteen days they w e re
a d m in is te re d the second testing.
R eliability is defined logically as that proportion of the v a ria n c e
that is tru e v a rian ce. The total v a ria n c e of a te s t can be shown to be
com posed of the sum s of two com ponent v a ria n c e s , tru e v arian ce and
an e r r o r v a ria n c e (Guilford, 1967). V arious reliability p ro c e d u re s
define tru e v a ria n ce differently. C ronbach (I960) has shown that
e x a m in e e s e a rn different s c o re s on a t e s t as a r e s u lt of general and
specific v a ria n c e s that a r e lasting o r t e m p o r a r y in n a tu re .
L asting g e n e ra l v a ria n c e r e p r e s e n t s individual differences that
o p e ra te o v e r a p e rio d of tim e . L asting specific v a ria n c e s a re the
t r a i ts that a re m e a s u r e d over tim e by a p a rtic u la r choice of ite m s on
one fo rm of a te s t. T e m p o ra ry g e n e ra l and specific v a ria n ce s r e p r e
s e n t g e n e ra l diffe re n c es in p e rfo rm a n c e that occur as a re s u lt of s u b
je c t variability operating on all fo rm s of a te s t at a p a rtic u la r tim e;
and specific effects that o c c u r as a r e s u lt of p a rtic u la r te s t ite m s,
96
environm ent, o r m otivational conditions. T e s t - r e t e s t reliab ility with
an interval defines tru e v a ria n c e a s lasting g e n e ra l and lasting specific.
These a re usually c o n s id e re d the m o s t im p o rta n t s o u rc e s of v a ria n c e
that contribute to a t e s t 's validity. O ther ap p ro a c h e s to reliab ility m ay
yield higher coefficients b e c a u se they include te m p o r a r y g e n e ra l v a r i
ance o r e r r o r com ponents that spuriously inflate their c o rre la tio n .
It is possible to distinguish betw een th re e types of reliability
coefficients: m e a s u r e s of stability, m e a s u r e s of in te rn al consistency,
and m e a s u r e s of equivalence. The choic of which reliability coefficient
to use should be based on fa c to rs of test item hom ogenity, the n atu re of
the sam ple population, and the m ethods of a d m in is tra tio n and sc o rin g ,
since they effect te s t v a ria n c e differently.
In this study, a m e a s u r e of stability over tim e w as chosen.
S everal c o n sid e ratio n s p ro m p te d this decision. F i r s t , the te s t is not
hom ogenous and it is possib le for a te s t to have low m e a s u r e of i n t e r
nal consistency while each ite m h a s a high c o rre la tio n with the c r i
te rio n m e a s u r e . Second, som e of the subtests a r e tim ed and in te rn al
consistency reliab ility coefficients for tim ed te s ts a re sp u rio u sly high.
Finally, the n a tu re of the ite m s and the c onstruction of the su b test p r e
vent the choice of an o d d -ev en division of the test.
Table 12 shows the re lia b ility coefficients for the ITOC. It can
be noted that the reliab ility coefficients for F o r m A a r e in g e n e ra l
low er than the reliab ility coefficients for F o r m B. The low est
97
T A B L E 12
ITOC T E S T -R E T E S T RE LIA B ILITY
Subtest F o r m A F o r m B
V - l 0. 59 0. 88
V -2 0. 78 0. 78
V -3 0. 55 0. 73
V -4 0. 74 0. 92
V -5 0. 87 0. 87
vO
1
>
0. 77 0. 91
P - l 0. 71 0. 80
P - 2 0. 71 0. 59
P - 3 0. 76 0. 74
P - 4 0. 65 0. 57
P - 5 0. 44 0. 75
P - 6 0. 59 0. 69
T otal V 0. 719
0. 938
Total P 0. 724 0. 701
Total V + P 0. 720 0. 916
N = 0. 20 N = 0. 21
~ 98
reliab ility coefficients for F o r m A can be found in the v e rb a l subtest
Sensitivity to P r o b le m s , with a c o rre la tio n of +0. 55, and to the p e r
fo rm a n ce su b test O riginality, with a c o rre la tio n of +0.44. The highest
subtest reliab ility coefficient is found in the v erbal su b test for O r i g i
nality. This w r ite r feels th e re m ay be some re a s o n to question this
coefficient because of the c r ite r io n contam ination. This will be
explained la te r.
In F o r m B, the t e s t - r e t e s t reliability coefficients ran g e fro m a
low of +0.57 for the p e rf o r m a n c e test, Flexibility of Thinking, to a
high of +0.92 in the v e rb a l te st, Flexibility of Thinking. In F o r m B,
th e re is a g e n e ra l p a tte rn for the reliability coefficients of the p e r
fo rm a n ce su b test to range low er (low +0. 59, high +0. 80) than in the
v e rb a l section of the ITOC (low +0. 73, high +0. 92).
The total te s t re lia b ilitie s for F o r m A w e r e : v e rb a l, r = +0.719;
p e rfo rm a n c e , r = +0. 721; and total te s t, r = +0. 720. F o r F o r m B, the
total te s t re lia b ilitie s w ere: v e rb a l, r = +0.938; p e rf o r m a n c e ,
r = +0.701; and total te s t s c o re , r = +0.916. T hese re lia b ilitie s a re
high for t e s t - r e t e s t re lia b ilitie s (see Table 12).
When the two su b te sts that a re lowest in reliab ility a r e dropped
f r o m the b a tte ry , re lia b ility is im proved. In F o r m A, the v e rb a l s u b
te s t Fluency of Thinking and the p e rfo rm a n c e s u b te st O riginality w ere
dropped with the following changes in reliability: v e rb a l, r = +0. 741;
p e rfo rm a n c e , r = +0. 799; and total te s t reliability, r = +0. 755. In
' " 99
F o r m B, the v e rb a l su b test Fluency of Thinking and the perfo rm a n c e
s u b te s t Flexibility of Thinking w e re dropped with the following changes
in reliability: v e rb a l, r = +0.953; p e rfo rm a n c e , r = +0. 799; total
te s t reliab ility , r = +0. 952.
T ab les 13 and 14 show the t e s t - r e t e s t reliab ility m eans and
sta n d a rd deviations for F o r m s A and B, resp e c tiv e ly .
R e su lts of C o rrela tio n a l A nalysis and
R e g re ss io n A nalysis
Table 15 p r e s e n ts the subtest c o rre la tio n s of the ITOC with the
SCAT, GPA , and IQ s c o re s obtained for so m e of the subjects in our
sa m p le . It can be se en by inspecting this table that the c o rre la tio n s a re
g en erally f ro m low to m o d e ra te . The highest c o rr e la tio n is betw een
the su b test Redefinition Ability and v e rb a l IQ s c o re s obtained on 62 su b
je c ts . The c o rr e la tio n h e re was +0.41.
Table 15 show s a re m a rk a b le n u m b er of low to slightly negative
c o rre la tio n s with m o s t of the va ria b le s and trad itio n al m e a s u r e s of
sch o lastic a c h ie v e m e n t. P a r tic u la r note should be given to the large
n u m b e r of low negative c o rre la tio n s betw een the IQ te s t s c o re s and the
p e rfo rm a n c e portion of the ITOC. The v e rb a l portion of the ITOC has
som e high c o rr e la tio n s with IQ te s t r e s u lts . This would be consistent
with the suggestions m ade by other r e s e a r c h e r s that at le a s t ave ra g e
level of intellectual capacity is n e c e s s a ry for c re a tiv e p e rfo rm a n c e to
a p p e ar.
TA B LE 13
T E S T -R E T E S T R E L IA B IL IT Y -- -
MEANS AND STANDARD DEVIATIONS,
F O R M A (N = 22)
V ariable
F i r s t Testing Second T esting
M ean
Standard
Deviation M ean
Standard
Deviation
V - l 22.4091 8. 1724 21.3636 7. 0938
V-2 15.6818 5. 2604 16.5909 6. 0050
V-3 16. 6364 6.5958 17.4545 7.0886
V -4 17.7273 10.0417 18.0909 9.9358
V-5 9. 2727 2.5078 9.4091
2.3867
V -6 14.5909 6. 3436 15. 1818 8. 0658
P - l 19. 4545 5. 7818 20.7727 5. 9233
P - 2 20. 1818 3.7615 2 1.0000 3. 9772
P - 3 12.1364 4.4343 12.0909 5. 1690
P - 4 25.0000 10.1713 23.9545 11.2633
P - 5 18. 3636 4.4163 19.1818 4.1521
P - 6 11. 7727 6.1713 12.5000 6.9200
101
T A B L E 14
T E S T -R E T E S T R E L IA B IL IT Y --
MEANS AND STANDARD DEVIATIONS,
FO R M B (N = 20)
V ariable
F i r s t Testing Second T esting
M ean
Standard
D eviation M ean
Standard
D eviation
V - l 21.3000 9.4027 21.7500 10.8068
V-2 19.6500 7.5649 19.8000 7. 9725
C
I
10. 1000 4.9183 11.3500 4.6505
V -4 13. 5000 5.8609 14.9500 5.9705
V -5 10.9500 2.6168 10.9000 2.7911
V -6 10.6500 5.4797 10.2500 4.9687
P - l 24.0500 5.3243 24.8500 5.0920
P - 2 20.3000 3.0349 20.8000 1.8332
P - 3 7. 2000 2.3367 8.0500 2.9912
P - 4 16.7500 6.6097 19.2500 5.6646
P - 5 17.0500 5.6787 16.4000 5.6072
P - 6 8. 2500 4.5373 7.4500 3.7878
i
TA B LE 15
ITOC SUBTEST CORRELATIONS WITH SCAT, GPA, AND IQ, FORMS A AND B
V - l V-2 V-3 V -4 V-5 V-6 P - l P -2 P -3 P - 4 P -5 P -6 N
s v
0. 19 0. 22 0. 23 0. 30 0. 27 0. 18 0. 20 0. 04 0. 09 0. 17 -0. 08 -0. 17 116
A ^
A
0 .09 0. 17 0. 07 0. 24 0. 21 0. 11 -0. 04 0. 00 0. 14 0. 26 0.03 -0. 12 116
T
T 0. 16 0. 21 0. 16 0. 30 0. 27 0. 17 0. 07 0. 03 0. 14 0. 25 0. 00 -0. 16 116
GPA 0. 38 0. 17 0. 04 0. 02 -0. 11 0. 09 0. 00 -0. 15 0. 00 -0. 16 -0. 21 -0. 14 60
T 0. 37 0. 15 0. 03 0. 01 -0. 13 0. 09 -0.01 -0. 21 -0. 01 -0. 20 -0 .2 2 -0. 14 55
IQ V 0.41 0. 16 0. 07 0. 02 -0. 14 0. 11 0. 01 -0. 13 0. 02 -0. 20 -0. 15 -0. 10 62
NV 0. 29 0. 10 0. 11 0. 13 - 0 . 01 0. 20 0. 08 -0. 04 0. 14 -0. 07 -0. 09 -0. 14 79
I
The SCAT te s t does not show any p a rtic u la r tre n d in the c o r r e
lations for the p e rfo rm a n c e o r v e rb a l p ortions of the ITOC. T hese
r e s u l ts a r e som ew hat c o m p a ra b le with those found in a study by Fox
(1967) of the s c o r e s on the G roup T e s t of C reativity (GTOC) developed
by M etfessel. In F o x 's study, the total SCAT sc o re for 217 subjects
for the su b te sts of the GTOC ranged fro m a low of r = +0. 07 to a high
r = +0. 21.
E xcept for the v erbal su b te st Redefinition A bilities, the c o r r e
lations with g ra d e point a v e ra g e a r e n e a r z e ro for the ITOC in a s a m
ple of 60 su b jects. It should be noted that v a ria tio n s in the size of the
s a m p le s in the d is c rim in a n t validity r e s u lts a re due to the different
p a tte rn s used by school d is tr ic ts in re p o rtin g and testing th eir students.
To f u rth e r this a n a ly s is, a r e g r e s s i o n fo rm u la w as used to
d e te r m in e which subtest o r com bination of su b tests would p re d ic t the
dependent v a ria b le test. With d is c r im in a te validity in m ind, a m ultiple
r e g r e s s i o n a n a ly sis was m a d e , using the subtest totals for the v e rb a l
and p e rf o r m a n c e portions of the ITOC and the total te s t s c o re . Table ;
i
16 provides a s u m m a ry of th is inform ation. It can be seen fro m th e se j
ta b le s that the highest predictive ability for the ITOC is with the verbalj
IQ s c o re s . T his is the r e s u lt of a c o n sisten t but low negative c o r r e l a - \
I
I
tion for the p e rfo rm a n c e su b te sts with the IQ v erb al s c o r e s . The j
I
r e g r e s s e d r is +0.42. With the b e s t possib le weightings of the sub- !
i
t e e s t s , the m ultiple r for p red ictin g g rad e point a v e ra g e is only +0. 27j
TA BLE 16
M U L T IP L E REGRESSION ANALYSIS
V ariable
S u m m a ry Table
Multiple R R Square RSQ Change Simple R B Beta
SCAT V erbal
Total V erbal
Total P e r fo r m a n c e plus V erbal
C onstant
0.32817
0.33000
0.10769
0.10890
0. 10769
0.00121
0.32817
0.29309
0.10606
-0.01945
24.07338
0.41716
-0.09553
SCAT Nonverbal
Total P e r fo r m a n c e plus V erbal
Total P e rfo rm a n c e
Constant
0.17718
0.17981
0.03139
0.03233
0. 03139
0.00094
0.17718
0.09342
0.04394
-0.02272
20.77991
0.20397
-0.04074
SCAT Total
Total V erbal
Total P e r fo r m a n c e plus V erbal
Constant
0.27012
0.27092
0.07297
0.07340
0. 07297
0. 00043
0.27012
0.25921
0.09976
0.02110
43.45003
0.21678
00.05726
TA BLE 16--C ontinued
V ariable
S u m m a ry Table
Multiple R R Square RSQ Change Simple R B B eta
IQ V erbal
Total V erbal
Total P e r fo r m a n c e plus V erbal
Constant
0.37012
0.42330
0.13699
0.17918
0.13699
0.04220
-0.37012
-0.00015
-3.45844
0.71868
346. 34263
-0.48422
0.23499
IQ Nonverbal
Total P e r fo r m a n c e
Total P e r fo r m a n c e plus V erbal
Constant
0.30540
0.37949
0.09327
0.14401
0.09327
0.05074
-0.30540
0.04536
-2.75471
0.66337
275.41323
-0.43308
0.25892
IQ Total
Total P e rfo rm a n c e
Total P e r fo r m a n c e plus V erbal
Constant
0.29460
0.40024
0.08679
0.16019
0.08679
0.07340
-0.29460
0.01895
-2.95547
0.82699
267.18953
-0.52104
0.35310
G rade Point A verage
Total V erbal
Total P e r fo r m a n c e plus V erbal
Constant
0.21313
0.27214
0.04543
0.07406
0.04543
0.02863
0. 21313
0. 12207
0.01724
-0.00932
2.89432
0.57767
-0.40190
The SCAT v e rb a l te s t is pred ic te d by combined w eights of the v erbal
sc o re and the total te s t p e rfo rm a n c e s c o re with the r e g r e s s i o n c o r r e
lation being +0.33.
D escrip tiv e S ta tistics on the ITOC
Table 17 can be used to c o n v e rt raw s c o re s to sta n d a rd s c o re s
by en terin g the colum n RS (raw sc o re ) for the v e rb a l, p e rf o r m a n c e , or
total portion of the ITOC and reading in the right hand colum n labeled
SS (standard score) the a p p ro p riate standard sc o re . This table was
developed for both F o r m s A and B of the ITOC.
T ables 18 through 36 have been developed to facilitate the i n te r
pretation of the Individual T est of C reativity. F i r s t , a s e r i e s of tables
is provided which gives inform ation reg a rd in g the m e a n s , standard
deviations, and v a ria n c e of both F o r m A and F o r m B of the ITOC.
Then fu rth e r tables a r e provided which allow a c o n v e rsio n of raw
s c o re s into sta n d a rd s c o re s with a m e a n of 100 and a sta n d a rd d e v ia
tion of 15. T hese a r e followed by a group of tables showing the d i s t r i
bution for ra w s c o re s broken down by ages of the su b je c ts. The age
groupings for F o r m A w e re 16, 17, and 18; for F o r m B the ages w ere
17 and 18. F o r m B w as a d m in is te re d to only one 1 6 -y e a r-o ld . The
last group of tab les provides d istrib u tio n and s u m m a ry ta b le s for s o c io
econom ic data.
107
Although no sta tis tic a l te s ts of significance w e re p e rfo rm e d ,
th e re do not a p p e ar to be any developm ental tre n d s to be noted in e ith e r
fo rm of the ITOC in the m ea n p e rfo rm a n c e . T h e re do a p p ear to be
som e large d ifferen ces in s ta n d a rd deviations, which could be accounted
for by the larg e diffe re n c es betw een the n u m b e r of subjects found at
each age group.
Again, no te s ts of significance w e re p e rfo rm e d , but the d iffe r
ence in m ea n p e rfo rm a n c e for so c io -e co n o m ic groups a s identified by
W a r n e r 's c la ssifica tio n s y s te m should be noted in Table 37 at the end
of this chapter.
TA BLE 17
ITOC CONVERSION TA BLE OF RAW SCORES TO
STANDARD SCORES WITH A MEAN OF 100 AND
A STANDARD DEVIATION OF 15
V e rb a l S c o r e s - - F o r m A
RS SS RS SS RS SS
23 75 48 86 73 97
24 76 49
86 74 97
25 76
50 87
75 98
26
77 51 87
76 98
27 77
52 88 77 98
28
78 53 88
78 99
29
78 54 89 79 99
30 78 55 89 80 100
31 79
56 89 81 100
32 79
57 90 82 101
33 79
58 90
83 101
34 80 59
90 84 101
35 80 60 91 85 102
36 80 61 91 86 102
37 81 62 92
87 102
38 81 63 92
88 103
39
82 64 93
89 103
40 82 65 93
90 104
41 83 66 94
91
104
42 83 67 94
92 105
43
84 68 95
93 105
44 84 69
95 94 106
45 84 70 95 95 106
46 85 71 96 96 107
47 85 72 96 97 107
TA B LE 17--C ontinued
V e rb a l S c o res- - F o r m A
RS SS RS SS RS SS
98 108 125 119
152 131
99
108 126 119
153 132
100
108 127 120 154 132
101 109 128 120 155 132
102 109 129
121 156 133
103 110 130 121 157 133
104 110 131 121 158 133
105 110 132 122 159
134
106
111 133
122 160 134
107 111 134 123 161 134
108 112 135 123 162 135
109
112 136 124 163 135
110 113 137 124 164 135
111 113 138 125 165 136
112 114 139
126 166 136
113 114 140 126 167 136
114 115 141 127 168 137
115 115 142 127 169
137
116 116 143 128 170 137
117 116 144 128 171 138
118 116 145 129
172 138
119
117 146 129
173 138
120 117 147 129
174 139
121 117 148 130 175 139
122 118 149
130 176 139
123 118 150 131 177 140
124 118 151 131
110
TA B LE 1 7 - -Continued
Pe rfo rm a n c e S c o r e s - - F o r m A
RS SS RS SS RS SS
55 59 74 75 93 90
56 60 75 75 94
91
57 61 76 76 95 92
58 62 77 77 96 93
59 63 78 78 97 93
60 63 79 79 98 94
61 64 80 79 99 95
62 65 81 80 100 96
63 66 82 81 101 97
64 67 83 82 102 97
65 68 84 83 103 98
66 68 85 84 104
99
67 69 86 84 105 100
68 70 87 85 106 101
69 71 88 86 107 101
70 71 89
87 108 102
71 72 90 88 109 103
72 73 91 89 110 104
73 74 92 89 111 105
Ill
T A B L E 1 7 - -C o n tin u e d
Pe rfo rm a n c e S c o r e s - - F o r m A
RS SS RS SS RS SS
112 106 132 122 152 138
113 106 133 123 153 139
114 107 134 124 154 139
115 108 135 124 155 140
116 109 136 125 156 141
117 110 137 126 157 142
118 110 138 126 158 143
119
111 139 127 159 143
120 112 140 128 160 144
121 113 141 128 161 145
122 114 142 129
162 146
123 114 143 130 163 149
124 115 144 131 164 148
125 116 145 132 155 149
126 117 146 133 166 149
127 117 147 134 167 150
128 118 148 135 168 151
129 119 149
135 169
151
130 120 150 136 170 152
131 121 151 137
112
T A B L E 1 7 --C o n tin u e d
Total S c o r e s - - F o r m A
RS SS RS SS RS SS
81 65 105 73 129
81
82 66 106 74 130 82
83 66 107 74 131 82
84 66 108 74 132 82
85 67 109 75 133 83
86 67 110 75 134 83
87 67 111 75 135 83
88 68 112 76 136 84
89
68 113 76 137 84
90 68 114 76 138 84
91 69
115 77 139
85
92 69
116 77 140 85
93 69
117 77 141 86
94 70 118 78 142 86
95 70 119
78 143 86
96 70 120 78 144 87
97 71 121 79
145 87
98 71 122 79
146 87
99
71 123 79
147 87
100 72 124 80 148 88
101 72 125 80 149 88
102 72 126 80 150 88
103 73 127 81 151 89
104 73 128 81 152 89
113
T A B L E 17--C o n tin u e d
Total S c o r e s - - F o r m A
RS SS RS SS RS SS
153 89
177 97 201 105
154 89
178 98 202 105
155 90 179 98 203 106
156 90 180 98 204 106
157 91
181 99
205 107
158 91
182 99 206 107
159 91
183 99
207 107
160 92 184 100 208 108
161 92 185 100 209 108
162 92 186 100 210 108
163 93 187 101 211 108
164 93 188 101 212 109
165 93 189 101 213 109
166 94 190 102 214 109
167 94 191
102 215 110
168 94 192 102 216 110
169 95 193 103 217 110
170 95 194 103 218 111
171 95 195 103 219
111
172 96 196 104 220 111
173 96 197 104 221 112
174 96 198 104 222 112
175 97 199
105 223 112
176 97 200 105 224 113
114
T A B L E 17 - -C o n tin u ed
Total S c o res - - F o r m A
RS SS RS- SS RS SS
225 113 249 121 273 130
226 113 250 121 274 130
227 114 251 122 275 130
228 114 252 122 276 131
229
114 253 122 277 131
230 115 254 123 278 131
231 115 255 123 279
132
232 115 256 124 280 132
233 116 257 124 281 132
234 116 258 124 282 133
235 116 259
125 283 133
236 117 260 125 284 133
237 117 261 126 285 134
238 117 262 126 286 134
239
118 263 126 287 134
240 118 264 127 288 135
241 118 265 127 289
135
242 119 266 127 290 135
243 119
267 128 291
136
244 119
268 128 292 136
245 120 269 128 293 136
246 120 270 129
294 137
247 120 271 129
295 137
248 121 272 129 296 137
T A B L E 1 7 --C o n tin u ed
Total S c o r e s - - F o r m A
RS SS RS SS RS SS
297 138 317 144 337 150
298 138 318 144 338 151
299
138 319
145 339
151
300 139
320 145 340 151
301 139
321 145 341 151
302 139
322 146 342 152
303 140 323 146 343 152
304 140 324 146 344 152
305 140 325 147 345 153
306 140 326 147 346 153
307 141 327 147 347 153
308 141 328 148 348 154
309
141 329
148 349
154
310 142 330 148 350 154
311 142 331 149
351 155
312 142 332 149
352 155
313 143 333 149
353 155
314 143 334 150 354 156
315 143 335 150 355 156
316 144 336 150
116
T A B L E 1 7 - -C o n tin u e d
V erbal S c o re s - - F o r m B
RS SS RS SS RS SS
27 70 53 81 79 93
28 70 54 82 80 94
29 71 55 82 81 94
30 71 56 83 82 94
31 72 57 83 83 95
32 72 58 84 84 95
33 73 59
84 85 96
34 73 60 85 86 96
35 74 61 85 87 97
36 74 62 86 88 97
37 74 63 86 89 98
38 75 64 86 90 98
39 75 65 87 91 98
40 76 66 87 92 99
41 76 67 88 93 99
42 76 68 88 94 100
43 77 69 89
95 100
44 77 70 89
96 101
45 78 71 90 97 101
46 78 72 90 98 102
47 79
73 90 99
102
48 79
74 91
100 102
49 80 75 91
101 103
50 80 76 92 102 103
51 81 77 92 103 104
52 81 78 93 104 104
T A B L E 17 - -C o n tin u e d
V erbal S c o re s - - F o r m B
RS SS RS SS RS SS
105 105 130 116 155 126
106 105 131 116 156 127
107 105 132 117 157 127
108 106 133 117 158 128
109
106 134 118 159
128
110 107 135 118 160 129
111 107 136 119 162 129
112 108 137 119 163 130
113 108 138 119 164 130
114 109 139 120 165 131
115 109 140 120 166 131
116 109
141 121 167 132
117 110 142 121 168 132
118 110 143 121 169 133
119
110 144 122 170 133
120 111 145 122 171 134
121 111 146 123 172 134
122 112 147 123 173 135
123 112 148 124 174 135
124 113 149
124 175 136
125 113 150 125 176 136
126 114 151 125 178 137
127 114 152 125 179
137
128 115 153 126 180 138
129
115 154 126 181 138
182 139
118
T A B L E 1 7 - -C o n tin u e d
P e r fo r m a n c e S c o r e s - - F o r m B
RS SS RS SS RS SS
54 57 71 72 88 89
55 57 72 73 89 89
56 58 73 74 90 90
57 59
74 75 91 91
58 60 75 76 92 92
59
61 76 77 93 93
60 61 77 78 94 94
61 62 78 79
95 95
62 63 79 80 96 96
63 64 80 81 97 97
64 65 81 82 98 98
65 66 82 83 99 99
66 67 83 84 100 100
67 68 84 85 101 101
68 69
85 86 102 102
69 70 86 87 103 103
70 71 87 88 104 104
119
T A B L E 1 7 --C o n tin u e d
P e r f o r m a n c e S c o r e s - - F o r m B
RS SS RS SS RS SS
105 105 121 120 137 136
106 106 122 121 138 137
107 107 123 122 139 138
108 108 124 123 140 139
109 109 125 124 141 140
110 110 126 125 142 141
111 111 127 126 143 142
112 112 128 127 144 143
113 113 129
128 145 144
114 114 130 129 146 145
115 115 131 130 147 146
116 116 132 131 148 147
117 117 133 132 149 148
118 118 134 133 150 149
119 119 135 134 151 150
120 120 136 135
120
T A B L E 1 7 - -C o n tin u e d
Total S c o r e s - - F o r m B
RS SS RS SS RS SS
100 65 126 75 152 85
101 66 127 76 153 85
102 66 128 76 154 85
103 67 129 76 155 86
104 67 130 77 156 86
105 67 131 77 157 86
106 68 132 77 158 87
107 68 133 78 159
87
108 68 134 78 160 88
109 69 135 78 161 88
110 69
136 79
162 88
111 70 137 79
163 89
112 70 138 80 164 89
113 70 139 80 165 89
114 71 140 80 166 90
115 71 141 81 167 90
116 72 142 81 168 90
117 72 143 81 169 91
118 72 144 82 170 91
119 73 145 82 171 91
120 73 146 82 172 92
121 73 147 83 173 92
122 74 148 83 174 92
123 74 149
84 175 93
124 74 150 84 176 93
125 75 151 84 177 93
121
T A B L E 1 7 --C o n tin u e d
Total S co res - - F o r m B
RS SS RS SS RS SS
178 94 204 104 230 113
179
94 205 104 231 113
180 95 206 104 232 114
181 95 207 105 233 114
182 96 208 105 234 114
183 96 209
105 235 115
184 96 210 106 236 115
185 97 211 106 237 115
186 97 212 106 238 116
187 98 213 107 239 116
188 98 214 107 240 116
189 98 215 108 241 117
190 99
216 108 242 117
191 99
217 108 243 118
192 99
218 109
244 118
193 100 219 109
245 119
194 100 220 109
246 119
195 100 221 110 247 119
196 101 222 110 248 120
197 101 223 110 249 120
198 101 224 111 250 120
199
102 225 111 251 121
200 102 226 112 252 121
201 102 227 112 253 122
202 103 228 112 254 122
203 103 229 113 255 122
1 2 2
T A B L E 17 - -C o n tin u ed
Total S c o r e s - - F o r m B
RS SS RS SS RS SS
256 123 283 132 310 142
257 123 284 132 311 142
258 123 285 133 312 142
259
124 286 133 313 143
260 124 287 134 314 143
261 124 288 134 315 143
262 125 289
134 316 144
263 125 290 135 317 144
264 125 291
135 318 144
265 126 292 136 319
145
266 126 293 136 320 145
267 127 294 136 321 145
268 127 295 137 322 146
269 123 296 137 323 146
270 128 297 137 324 146
271 128 298 138 325 147
272 128 299
138 326 147
273 129
300 138 327 147
274 129
301 139
328 148
275 128 302 139 329
148
276 128 303 139
330 148
277 130 304 140 331 149
278 130
305 140 332 149
279 131 306 140 333 149
280 131
307 141 334 150
281 131 308 141 335 150
282 132 309
141 336 150
123
T A B L E 18
ITOC SUMMARY TA B LE OF M EANS AND
STANDARD DEVIATIONS BY AGE IN YEARS
Age M ean
Standard
Deviation
Subtest
F o r m A
16
(N = 8)
84. 25
100.87
185.12
54. 61
9. 18
58.47
V erbal
P e r f o r m a n c e
V e rb a l plus P e r fo r m a n c e
17
(N = 21)
67. 76
102.52
170. 28
25.45
23. 51
38. 68
V erbal
P e r f o r m a n c e
V erbal plus P e r fo r m a n c e
18
(N = 77)
79. 14
105.14
184.57
33. 14
17. 63
44. 23
V e rb a l
P e r f o r m a n c e
V e rb a l plus P e r fo r m a n c e
F o r m B*
17
(N = 27)
86. 88
98. 63
185.51
35.84
16. 84
45. 79
V e rb a l
P e r f o r m a n c e
V e rb a l plus P e r fo r m a n c e
18
(N = 76)
93. 67
99.48
193.15
31. 94
15. 66
38. 96
V e rb a l
P e r f o r m a n c e
V e rb a l plus P e r fo r m a n c e
vOnly 1 c ase of age 16.
T A B L E 19
F R E Q U E N C Y D ISTR IB U TIO N BY AGE AND F O R M :
T O T A L P E R F O R M A N C E SC O R E , F O R M A, A G E 16
Value
A bsolute
F re q u e n c y
Relative A djusted
F r e q u e n c y F re q u e n c y
(percent) (percent)
C um ulative
Adj F r e q
(percent)
81. 00 1 12.5 12.5 12. 5
96.00 1 12.5 12.5 25. 0
100.00 1 12.5 12.5 37. 5
103.00 1 12.5 12.5 50. 0
104.00 1 12.5 12.5 62. 5
105.00 1 12.5 12.5 75. 0
107. 00 1 12.5 12.5 87. 5
111.00 1 12.5 12.5 100. 0
Total 8 100.0 100.0 100. 0
Statistics
M ean 100.875 Std E r r o r 3.248 M edian 103.500
Mode 105.000 Std Dev 9. 188 V a ria n c e 84.411
K u rto sis 0. 816 Skew ness -1 .2 9 8 Range 30.000
M inim um 81.000 M a x im u m 111. 000
125
T A B L E 20
F R E Q U E N C Y D ISTR IB U TIO N BY AGE AND FO R M :
T O T A L V E R B A L SC O RE, F O R M A , AG E 16
Value
Absolute
F requency
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
35. 00 1 12.5 12.5 12. 5
38. 00 1 12.5 12.5 25. 0
57. 00 1 12.5 12.5 37. 5
65. 00 1 12.5 12.5 50. 0
66.00 1 1 2.5 12.5 62. 5
94. 00 1 12.5 12.5 75. 0
118.00 1 12.5 12.5 87. 5
201.00 1 12.5 12.5 100. 0
Total 8 100.0 100.0 100. 0
Statistics
M ean 84.250 Std E r r o r 19. 307 M edian 65.500
Mode 38.000 Std Dev 54. 610 V ariance 2982.214
K urtosis 0. 641 Skew ness 1.293 Range 166.000
M inim um 35. 000 M a x im u m 201.000
I
i
126
T A B L E 21
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L P E R F O R M A N C E AND V E R B A L SC O R E, A G E 16
Value
Relative
Absolute F re q u e n c y
F r e q u e n c y (percent)
Adjusted
F requency
(percent)
C um ulative
Adj F r e q
(percent)
131.00 1 12. 5 12. 5 12. 5
138. 00 1 12. 5 12. 5 25. 0
143.00 1 12. 5 12. 5 37. 5
166. 00 1 12. 5 12. 5 50. 0
168. 00 1 12. 5 12. 5 62. 5
205. 00 1 12. 5 12. 5 75. 0
225. 00 1 12. 5 12. 5 87. 5
305.00 1 12. 5 12. 5 100. 0
Total 8 100. 0 100. 0 100. 0
S ta tistics
M ean 185.125 Std E r r o r 20. 676 M edian 167.000
Mode 143.000 Std Dev 58. 479 V ariance 3419.839
K u rto sis 0. 156 Skewness 1. 103 Range 174.000
M inim um 131.000 M a x im u m 305. 000
i
127
T A B L E 22
F R E Q U E N C Y D ISTR IB U TIO N BY AG E AND FO R M :
T O T A L P E R F O R M A N C E SC O R E, F O R M A , A G E 17
Value
A bsolute
F r e q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
C um ulative
Adj F r e q
(percent)
71. 00 1 4. 8 4. 8 4. 8
74. 00 1 4. 8 4. 8 9. 5
77. 00 1 4. 8 4. 8 14. 3
81. 00 1 4. 8 4. 8 19. 0
85. 00 1 4. 8 4. 8 23. 8
91. 00 1 4. 8 4. 8 28. 6
92. 00 1 4. 8 4. 8 33. 3
95. 00 9. 5 9. 5 42. 9
96. 00 1 4. 8 4. 8 47. 6
99. 00
1 4. 8 4. 8 52. 4
103.00 1 4. 8 4. 8 57. 1
104.00 1 4. 8 4. 8 61. 9
105.00 14.3 14. 3 76. 2
116.00 1 4. 8 4. 8 81. 0
120.00 1 4. 8 4. 8 85. 7
122.00 1 4. 8 4. 8 90. 5
147.00 1 4. 8 4. 8 95. 2
170.00 1 4. 8 4. 8 100. Q
Total 21 100. 0
Statistics
100. 0 100. 0
M ean
Mode
K u rto sis
M inim um
102.524
105.000
I. 698
71.000
Std E r r o r 5. 131
Std Dev 23.515
Skewness 1.261
M axim um 170.000
M edian
V a ria n c e
Range
99.250
552.966
99.000
128
T A B L E 23
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L V E R B A L SC O R E, F O R M A, A G E 17
Value
A bsolute
F requency
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
23. 00 1 4. 8 4. 8 4. 8
37. 00 1 4. 8 4. 8 9. 5
44. 00 9. 5 9. 5 19.0
46. 00 1 4. 8 4. 8 23. 8
48. 00 1 4. 8 4. 8 28. 6
53. 00 9. 5 9. 5
38. 1
58. 00 I 4. 8 4. 8 42. 9
63. 00 1 4. 8 4. 8 47. 6
66. 00 1 4. 8 4. 8 52.4
68. 00 9. 5 9. 5 61.9
73. 00 1 4. 8 4. 8 66. 7
77. 00 1 4. 8 4. 8 71.4
84. 00 1 4. 8 4. 8 76. 2
91.00 1 4. 8 4. 8 81. 0
92. 00 1 4. 8 4. 8 85. 7
101.00 1 4. 8 4. 8 90. 5
116.00 1 4. 8 4. 8 95. 2
118. 00 1 4. 8 4. 8 100. 0
Total 21 100. 0
Statistics
100. 0 100. 0
M ean
Mode
K u rto sis
M inim um
67.762
44 .0 0 0
-0 .5 3 1
23.000
Std E r r o r 5. 555
Std Dev 25.456
Skewness 0 .424
M axim um 118.000
M edian 65. 750
V a ria n c e 647.997
Range 95.000
T A B L E 24
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L P E R F O R M A N C E AND V E R B A L , F O R M A, AGE 17
Value
Absolute
F re q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
94. 00 1 4. 8 4. 8 4. 8
121.00 1 4. 8 4. 8 9. 5
122.00 1 4. 8 4. 8 14. 3
127.00 1 4. 8 4. 8 19. 0
129.00
1 4. 8 4. 8 23. 8
157. 00
1 4. 8 4. 8 28. 6
158.00 1 4. 8 4. 8 33. 3
160.00 1 4. 8 4. 8 38. 1
164.00 9. 5 9. 5 47. 6
169.00
1 4. 8 4. 8 52. 4
172.00 1 4. 8 4. 8 57. 1
173.00 1 4. 8 4. 8 61. 9
179.00 9. 5 9. 5 71.4
196.00 1 4. 8 4. 8 76. 2
213.00
1 4. 8 4. 8 81. 0
214.00 1 4. 8 4. 8 85. 7
216. 00 1 4. 8 4. 8 90. 5
221.00 1 4. 8 4. 8 95. 2
248. 00 1 4. 8 4. 8 100. 0
Total 21 100. 0
S tatistics
100. 0 100. 0
M ean
Mode
K u rto sis
M inim um
170.286
164.000
-0 .5 0 0
94.000
Std E r r o r 8. 442
Std Dev 38. 686
Skewness 0.037
M a x im u m 248. 000
M edian
V ariance
Range
168.500
1496.622
154.000
130
T A B L E 25
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L P E R F O R M A N C E SC O R E , F O R M A, AGE 18
Value
A bsolute
F r e q u e n c y
Relative
F re q u e n c y
(percent)
Adjusted
F requency
(percent)
C um ulative
Adj F r e q
(percent)
66. 00 1 1.3 1. 3 1. 3
69. 00
1 1. 3 1.3 2. 6
73. 00 1 1.3 1. 3 3 .9
79. 00 2 2. 6 2. 6 6. 5
84. 00 1 1.3 1. 3 7. 8
85. 00 2 2. 6 2. 6 10.4
86. 00 1 1.3 1. 3 11.7
87. 00 1 1.3 1. 3 13. 0
88. 00 2 2. 6 2. 6 15. 6
91. 00
1 1.3 1. 3 16. 9
93. 00 2 2. 6 2. 6 19. 5
94. 00 3 3 .9 3. 9 2 3 .4
95. 00 3 3. 9 3. 9 27. 3
96. 00 3 3. 9 3.9 31.2
97. 00 2 2. 6 2. 6 33. 8
98. 00 2 2. 6 2. 6 36. 4
99. 00 5 6. 5 6. 5 42. 9
101.00 4 5. 2 5.2 48. 1
102.00 1 1. 3 1.3 49. 4
103.00 1 1. 3 1.3 50. 6
104.00 1 1.3 1. 3 51.9
105.00 4 5 .2 5.2 57. 1
106. 00 2 2. 6 2. 6 59. 7
107.00 2 2. 6 2. 6 62. 3
131
T A B L E 25 - -C o n tin u e d
Value
A bsolute
F re q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
108. 00
1 1.3 1. 3 63. 6
109.00
2 2. 6 2. 6 66. 2
110.00
3 3 .9 3 .9
70. 1
111.00 1 1.3 1. 3 71.4
112.00 1 1.3 1. 3 72. 7
113.00 1 1. 3 1. 3 74. 0
115.00
1 1.3 1. 3 75. 3
116. 00 2 2. 6 2. 6 77. 9
117. 00 1 1.3 1.3 79. 2
118. 00 1 1. 3 1. 3 80. 5
120.00 1 1.3 1. 3 81. 8
122.00 1 1.3 1.3 83. 1
123.00 2 2. 6 2. 6 85. 7
124.00 2 2. 6 2. 6 88. 3
126. 00 2 2. 6 2. 6 9 0.9
129.00 1 1.3 1. 3 92. 2
132.00 1 1.3 1. 3 93. 5
133.00 1 1.3 1. 3 94. 8
137.00 1 1. 3 1. 3 96. 1
144.00 2 2. 6 2. 6 98. 7
170.00 1 1.3 1. 3 100. 0
Total 77 100. 0
Statistics
100. 0 100. 0
M ean 105.143 Std E r r o r 2. 010 M edian 103.000
Mode 99.000 Std Dev 17.639 V ariance 311.129
K u rto sis
M inim um
1. 551
66.000
Skewness 0. 706
M axim um 170.000
Range 104.000
T A B L E 26
FR E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L V E R B A L SC O R E , F O R M A, A G E 18
Value
Absolute
F re q u e n c y
Relative
F re q u e n c y
(percent)
A djusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
38. 00 1 1.3 1. 3 1. 3
41. 00 1 1.3 1.3 2. 6
42. 00 1 1.3 1. 3 3.9
44. 00 3 3 .9 3 .9 7. 8
45. 00 1 1.3 1.3 9. 1
46. 00 1 1. 3 1. 3 10. 4
47. 00 1 1. 3 1. 3 11. 7
48. 00 2 2. 6 2. 6 14. 3
49. 00 3 3. 9 3. 9 18. 2
52. 00 1 1.3 1.3 19. 5
53. 00 3 3. 9 3. 9 23. 4
55. 00 1 1. 3 1.3 24. 7
56. 00 1 1.3 1. 3 26. 0
58. 00 2 2. 6 2. 6 28. 6
59. 00 1 1.3 1. 3 29. 9
60. 00 3 3. 9 3 .9
33. 8
62. 00 2 2. 6 2. 6 36.4
63. 00 2 2. 6 2. 6 39. 0
64. 00 1 1 .3 1. 3 40. 3
66. 00 3 3 .9 3 .9
44. 2
67. 00 1 1.3 1.3 45. 5
68. 00 2 2. 6 2. 6 48. 1
69. 00 1 1.3 1.3 4 9 .4
70. 00 2 2. 6 2. 6 51.9
T A B L E 2 6 --C o n tin u e d
Value
A bsolute
F requency
Relative
F re q u e n c y
(percent)
A djusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
71. 00 1 1.3 1.3 53. 2
73. 00 2 2. 6 2. 6 55. 8
75. 00 3 3.9 3 .9 59. 7
78. 00 2 2. 6 2. 6 62. 3
79. 00
1 1.3 1. 3 63. 6
86. 00 3 3.9 3.9
67. 5
92. 00 2 2. 6 2. 6 70. 1
93. 00 1 1. 3 1.3 71.4
94. 00 2 2. 6 2. 6 74. 0
96. 00 3 3.9 3.9
77. 9
98. 00 1 1.3 1.3 79. 2
99. 00
1 1.3 1. 3 80. 5
101.00 1 1. 3 1. 3 81. 8
105. 00 1 1.3 1.3 83. 1
109.00
1 1.3 1.3 84. 4
113.00 1 1.3 1.3 85. 7
117.00 1 1.3 1. 3 87. 0
119.00
1 1.3 1.3 88. 3
123.00 1 1.3 1. 3 89. 6
125.00 1 1. 3 1. 3 9 0.9
132.00 1 1.3 1. 3
92. 2
134.00 1 1.3 1. 3
93. 5
135.00 1 1.3 1. 3 94. 8
137.00 1 1. 3 1. 3 96. 1
155.00 1 1. 3 1. 3 97. 4
T A B L E 2 6 - -C o n tin u e d
134
Value
Absolute
F requency
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
C um ulative
Adj F r e q
(percent)
185.00 1 1.3 1.3 98. 7
206. 00 1 1.3 1.3 100. 0
Total 77 100.0 100.0 100. 0
Statistics
M ean 79.429 Std E r r o r 3. 777 M edian 69.750
Mode 86.000 Std Dev 33. 141 V arian ce 1098.357
K u rto sis 2. 422 Skewness 1.442 Range 168.000
M inim um 38. 000 M axim um 206. 000
135
T A B L E 27
F R E Q U E N C Y D ISTR IB U TIO N BY AGE AND FO R M :
T O T A L P E R F O R M A N C E AND V E R B A L , F O R M A, AGE 18
Value
A bsolute
F re q u e n c y
Relative
F re q u e n c y
(percent)
Adjusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
114.00 1 1. 3 1.3 1. 3
121.00 1 1.3 1.3 2. 6
125.00 1 1. 3 1. 3 3 .9
126. 00 1 1. 3 1.3 5 .2
133.00 1 1.3 1.3 6. 5
137.00 1 1.3 1.3 7. 8
139.00
2 2. 6 2. 6 10.4
145.00 3 3. 9 3.9
14. 3
147.00 2 2. 6 2. 6 16. 9
148. 00 1 1.3 1.3 18. 2
149.00 3 3. 9 3.9
22. 1
155.00 1 1. 3 1. 3 23. 4
156.00 2 2. 6 2. 6 26. 0
157.00 2 2. 6 2. 6 28. 6
158.00 1 1.3 1.3 29. 9
159.00 1 1.3 1.3 31.2
160.00 1 1.3 1. 3 32. 5
162.00 1 1. 3 1. 3 33. 8
163.00 1 1.3 1. 3 35. 1
164.00 1 1. 3 1.3 36 .4
165.00 2 2. 6 2. 6 39. 0
168. 00 2 2. 6 2. 6 41. 6
170.00 1 1.3 1.3 42. 9
171.00 2 2. 6 2. 6 45. 5
T A B L E 2 7 - -C o n tin u e d
Value
A bsolute
F re q u e n c y
Relative
F re q u e n c y
(percent)
A djusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
174.00 1 1. 3 1. 3 46. 8
177.00 1 1.3 1.3 48. 1
‘ 178.00 1 1. 3 1.3 4 9 .4
179.00
2 2. 6 2. 6 51. 9
180.00 1 1. 3 1.3 53. 2
181.00 1 1. 3 1.3 54. 5
184.00 1 1. 3 1.3 55. 8
185.00 4 5. 2 5. 2 61.0
187.00 2 2. 6 2. 6 63. 6
189.00
1 1. 3 1.3 64. 9
191.00 1 1. 3 1.3 66. 2
192.00 1 1. 3 1.3 67. 5
193.00 1 1. 3 1. 3 68. 8
194.00 1 1.3 1.3 70. 1
195.00 1 1.3 1.3 7 1 .4
197.00 1 1. 3 1.3 72. 7
200.00 2. 6 2. 6 75. 3
202.00 1 1. 3 1.3 76. 6
207.00 1.3 1. 3 77. 9
210.00 1 1. 3 1.3 79. 2
211.00 1 1.3 1.3 80. 5
212.00 1 1.3 1.3 81. 8
214.00 1 1. 3 1. 3 83. 1
219.00 1 1. 3 1. 3 8 4 .4
224.00 1 1. 3 1.3 85. 7
227. 00 1 1. 3 1. 3 87. 0
T A B L E 2 7 --C o n tin u e d
Value
Absolute
F re q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
231.00 2 2 .6 2 .6 89. 6
232.00 1 1.3 1.3 90. 9
237.00 1 1.3 1.3 92. 2
256.00 1 1.3 1.3 93. 5
263.00 1 1 .3 1.3 94. 8
278. 00 1 1 .3 1.3 96. 1
284.00 1 1 .3 1.3 9 7 .4
339.00
1 1.3 1.3 98. 7
355.00 1 1 .3 1.3 100. 0
Total 77 100.0 100.0 100. 0
S tatistics
M ean 184.571 Std E r r o r 5. 041 M edian 178.750
Mode 185.000 Std Dev 44 .2 3 9 V ariance 1957.052
K u rto sis 3. 243 Skew ness 1.508 Range 241.000
M inim um 114.000 M a x im u m 355. 000
138
TA BLE 28
FR EQ U EN C Y DISTRIBUTION BY AGE AND FORM :
TO TA L P E R F O R M A N C E SCORE, FO R M B, AGE 16
Value
A bsolute
F re q u e n c y
Relative
F re q u e n c y
(percent)
A djusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
111.00 1 100. 0 100. 0 100. 0
Total 1 100. 0 100. 0 100. 0
Statistics
M ean 1 1 1 .000 Std E r r o r 0. 0 M edian 0. 0
Mode 1 1 1 .000 Std Dev 0. 0 V ariance 0. 0
K u rto sis 0. 0 Skew ness 0. 0 Range 0. 0
M inim um 111.00 M a x im u m 111.000
139
TA B LE 29
FR EQ U EN C Y DISTRIBUTION BY AGE AND FORM :
TO T A L V E R B A L SCORE, FO R M B, AGE 16
Value
Absolute
F r e q u e n c y
Relative
F requency
(percent)
A djusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
110.00 1 100. 0 100. 0 100. 0
Total 1 100. 0
Statistics
100. 0 100. 0
M ean 110.000 Std E r r o r 0 .0 M edian 0. 0
Mode 110.000 Std Dev 0. 0 Variance 0. 0
K u rto sis 0. 0 Skewness 0. 0 Range 0. 0
M inim um 110.000 M axim um 110.000
I
I
140
T A B L E 30
FR EQ U EN C Y DISTRIBUTION BY AGE AND FORM :
T O TA L PE R F O R M A N C E AND V E R B A L SCORES, FO R M B, AGE 16
Value
Absolute
F re q u e n c y
Relative
F r e q u e n c y
(percent)
Adjusted
F re q u e n c y
(percent)
C um ulative
Adj F r e q
(percent)
221.00 1 100. 0 100. 0 100. 0
Total 1 100. 0
S tatistics
100. 0 100. 0
M ean 221.000 Std E r r o r 0. 0 M edian 0 . 0
Mode 221.000 Std D ev 0. 0 V ariance 0 . 0
K u rto sis 0 . 0 Skew ness 0 .0 Range 0 . 0
M inim um 221.000 M a x im u m 221.000
141
T A B L E 31
FR E Q U E N C Y D ISTR IB U TIO N BY AGE AND FO R M :
T O T A L P E R F O R M A N C E SC O R E , F O R M B , A G E 17
Value
Absolute
F re q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
59. 00
1 3. 7 3. 7 3. 7
75. 00 1 3. 7 3. 7 7. 4
76. 00 1 3. 7 3. 7 11. 1
83. 00 1 3. 7 3. 7 14. 8
84. 00 7. 4 7. 4 22. 2
85. 00 1 3. 7 3. 7 25. 9
88. 00 7. 4 7. 4 33. 3
90. 00 1 3. 7 3. 7 37. 0
92. 00 1 3. 7 3. 7 40. 7
94. 00 7. 4 7. 4 48. 1
95. 00 1 3. 7 3. 7
51.9
104.00 1 3. 7 3. 7 55. 6
107.00 7 .4 7. 4 63. 0
109.00 1 3. 7 3. 7 66. 7
110.00 1 3. 7 3. 7 7 0.4
1 1 1 .00 7 .4 7. 4 77. 8
112.00 1 3. 7 3. 7 81. 5
115.00 1 3. 7 3. 7 85. 2
117.00 1 3. 7 3. 7 88. 9
123.00 1 3. 7 3. 7 92. 6
125.00 2 7. 4 7. 4 100. 0
Total 27 100. 0 100. 0 100. 0
Statistics
M ean 98.630 Std E r r o r 3. 242 M edian 97. 000
Mode 1 1 1 .000 Std Dev 16.848 V arian ce 283.863
K u rto sis -0. 562 Skewness -0 .2 5 7 Range 66.000
M inim um 59.000 M axim um 125. 000
142
T A B L E 32
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AN D FO R M :
T O T A L V E R B A L SC O R E , F O R M B, A G E 17
Value
A bsolute
F requency
Relative
F re q u e n c y
(percent)
A djusted
F r e q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
32. 00 1 3. 7 3. 7 3. 7
37. 00 1 3. 7 3. 7 7 .4
48. 00 1 3. 7 3. 7 11. 1
54. 00 1 3. 7 3. 7 14. 8
58. 00 1 3. 7 3. 7 18. 5
59. 00 1 3. 7 3. 7 22. 2
61. 00 1 3. 7 3. 7 25. 9
64. 00 1 3. 7 3. 7 29. 6
67. 00 1 3. 7 3. 7 33. 3
70. 00 1 3. 7 3. 7 37. 0
77. 00 1 3. 7 3. 7 40. 7
78. 00 1 3. 7 3. 7 44. 4
80. 00 1 3. 7 3. 7 48. 1
85. 00 1 3. 7 3. 7 51.9
88. 00 1 3. 7 3. 7 55. 6
89. 00 1 3. 7 3. 7 59. 3
90. 00 1 3. 7 3. 7 63.0
91. 00 1 3. 7 3. 7 66. 7
96. 00 1 7.4 7. 4 74. 1
101.00 1 3. 7 3. 7 77. 8
106. 00 1 3. 7 3. 7 81. 5
110.00 1 3. 7 3. 7 85. 2
T A B L E 32 - -C o n tin u e d
143
Value
Absolute
F requency
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
116. 00 1 3. 7 3. 7 88. 9
133.00 1 3. 7 3. 7 92. 6
178.00 1 3. 7 3. 7 96. 3
182.00 1 3. 7 3. 7 100. 0
Total 27 100. 0 100. 0 100. 0
Statistics
M ean 86.889 Std E r r o r 6. 901 M edian 84.500
Mode 96. 000 Std Dev 35. 857 V ariance 1285.723
K u rto sis 1. 289 Skew ness 1.096 Range 150.000
M inim um 32.000 M axim um 182.000
T A B L E 33
FR E Q U E N C Y D IST R IB U T IO N BY A G E AND FO R M :
T O T A L P E R F O R M A N C E AND V E R B A L SCO RES, F O R M B , A G E 17
Value
Absolute
F re q u e n c y
Relative
F requency
(percent)
Adjusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
107. 00 1 3. 7 3. 7 3. 7
113.00 1 3. 7 3. 7 7.4
138.00 1 3. 7 3. 7 11. 1
141.00 1 3. 7 3. 7 14. 8
142.00 1 3. 7 3. 7 18. 5
149.00 1 3. 7 3. 7 22.2
155.00 7.4 7. 4 29. 6
164.00 1 3. 7 3. 7 33. 3
165.00 7.4 7.4 40. 7
170.00 1 3. 7 3. 7 4 4 .4
178.00 1 3. 7 3. 7 48. 1
180.00 1 3. 7 3. 7
51.9
184.00 1 3. 7 3. 7 55. 6
189.00 1 3. 7 3. 7 59. 3
196. 00 1 3. 7 3. 7 63. 0
201.00 1 3. 7 3. 7 66. 7
203. 00 1 3. 7 3. 7 70.4
208.00 1 3. 7 3. 7 74. 1
213.00 1 3. 7 3. 7 77. 8
215.00 1 3. 7 3. 7 81. 5
221.00 1 3. 7 3. 7 85.2
233.00 1 3. 7 3. 7 88. 9
244.00 1 3. 7 3. 7 92. 6
145
T A B L E 3 3 --C o n tin u e d
Value
A bsolute
F re q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
273.00 1 3. 7 3. 7 96. 3
307. 00 1 3. 7 3. 7 100. 0
Total 27 100. 0 100. 0 100. 0
S tatistics
M ean 185.519 Std E r r o r 8. 814 M edian 180.500
Mode 165.000 Std Dev 45. 797 V ariance 2097. 346
K u rto sis 0. 441 Skew ness 0. 653 Range 200.000
M inim um 107.000 M axim um 307. 000
146
T A B L E 34
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L P E R F O R M A N C E SC O R E , F O R M B, AGE 18
Value
Absolute
F re q u e n c y
Relative
F r e q u e n c y
(percent)
A djusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
60. 00 2 2. 6 2. 6 2. 6
67. 00 1 1.3 1.3 3 .9
74. 00 1 1.3 1. 3 5. 3
76. 00 1 1.3 1. 3 6. 6
79. 00 3 3.9 3.9 10. 5
80. 00 1 1.3 1.3 11. 8
82. 00 1 1.3 1. 3 13. 2
83. 00 1 1.3 1. 3 14. 5
84. 00 2 2. 6 2. 6 17. 1
85. 00 2 2. 6 2. 6 19. 7
86. 00 1 1. 3 1.3 21. 1
87. 00 1 1.3 1.3 22. 4
88. 00 1 1. 3 1. 3 23. 7
89. 00 2 2. 6 2. 6 26. 3
90. 00 2 2. 6 2. 6 28. 9
91.00 1 1.3 1.3 30. 3
92. 00 2 2. 6 2. 6 32. 9
93. 00 1 1.3 1. 3 34. 2
94. 00 1 1.3 1.3 35. 5
95. 00 2 2. 6 2. 6 38. 2
96. 00 3 3 .9 3 .9 42. 1
97. 00 2 2. 6 2. 6 44. 7
98. 00 1 1.3 1.3 46. 1
99. 00 2 2. 6 2. 6 48. 7
147
T A B L E 34 - -C o n tin u ed
Value
Absolute
F re q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
101.00 2 2. 6 2. 6 51. 3
102.00 3 3. 9 3. 9 55. 3
104.00 2 2. 6 2. 6 57. 9
105.00 1 1.3 1.3 59. 2
106. 00 2 2. 6 2. 6 61. 8
107.00 5 6. 6 6. 6 68. 4
108.00 2 2. 6 2. 6 71. 1
109.00
1 1.3 1. 3 72. 4
110.00 4 5. 3 5. 3 77. 6
111.00 2 2. 6 2. 6 80. 3
112.00 2 2. 6 2. 6 82. 9
114.00 2 2. 6 2. 6 85. 5
115.00 2 2. 6 2. 6 88. 2
116.00 2 2. 6 2. 6 90. 8
117.00 1 1. 3 1.3 92. 1
122.00 2 2. 6 2. 6 94. 7
123.00 1 1.3 1.3 96. 1
129.00
1 1.3 1. 3 97. 4
132.00 1 1.3 1.3 98. 7
141. 00 1 1.3 1.3 100. 0
- Total 76 100. 0
S ta tistics
100. 0 100. 0
M ean
Mode
K u rto sis
M inim um
99.487
107. 000
0. 186
60.000
Std E r r o r 1. 797
Std Dev 15. 663
Skew ness -0. 152
M a x im u m 141. 000
M edian 100. 750
V a ria n c e 245. 323
Range 81.000
148
T A B L E 35
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L V E R B A L SC O R E , F O R M B, AGE 18
Value
Absolute
F re q u e n c y
Relative
F r e q u e n c y
(percent)
A djusted
F requency
(percent)
C um ulative
Adj F r e q
(percent)
38. 00 1 1. 3 1.3 1. 3
45. 00 1 1. 3 1.3 2. 6
46. 00
1 1.3 1.3 3 .9
50. 00
1 1.3 1.3 5. 3
51.00
1 1. 3 1.3 6. 6
52. 00
2. 6 2. 6 9 .2
55.00 1 1. 3 1.3 10. 5
57. 00 1 1. 3 1. 3 11.8
61. 00
2. 6 2. 6 14. 5
62. 00 3 3. 9 3.9
18.4
65. 00 1 1. 3 1.3 19. 7
66. 00 1 1. 3 1. 3 21. 1
68. 00 1 1.3 1. 3 2 2 .4
69. 00
1 1. 3 1. 3 23. 7
71. 00 6. 6 6. 6 30. 3
72. 00 3 3. 9 3.9
34. 2
73.00 1 1. 3 1.3 35. 5
75. 00 1 1. 3 1. 3 36. 8
76. 00 1 1. 3 1. 3
38.2
79. 00
1 1. 3 1.3 39. 5
80. 00 3.9 3 .9
4 3 .4
86. 00 2. 6 2. 6 46. 1
87. 00 1 1. 3 1. 3 4 7 .4
89. 00
1 1. 3 1.3 48. 7
T A B L E 3 5 - -C o n tin u ed
Value
Absolute
F re q u e n c y
Relative
F re q u e n c y
(percent)
A djusted
F re q u e n c y
(percent)
Cum ulative
Adj F r e q
(percent)
91. 00
1 1. 3
1.3 50. 0
92. 00 3 3.9 3 .9
53. 9
93. 00
1 1. 3 1. 3
55. 3
94. 00 2 2. 6 2. 6 57. 9
99. 00
1 1. 3
1.3 59. 2
100.00
1 1. 3 1. 3 60. 5
101.00
2 2. 6 2. 6 63. 2
104.00
1 1. 3 1. 3
64. 5
108. 00
2 2. 6 2. 6 67. 1
109.00
1 1. 3
1.3 6 8 .4
110.00 2 2. 6 2. 6 71. 1
1 1 1 .00 2 2. 6 2. 6 73. 7
113.00 1 1.3 1. 3 75. 0
114.00 3 3 .9 3 .9
78. 9
117.00 1 1. 3 1. 3 80. 3
118.00 1 1. 3
1.3 81. 6
120.00
1 1. 3 1. 3 82. 9
124.00 1 1. 3 1. 3 84. 2
132.00 1 1. 3
1.3 85. 5
138.00 1 1. 3
1.3 86. 8
140.00 1 1. 3 1. 3 88. 2
141.00 1 1. 3 1. 3 89. 5
143.00 3 3 .9 3 .9
9 3 .4
144.00 1 1. 3
1.3 94. 7
149.00
1 1. 3 1. 3 96. 1
T A B L E 3 5 --C o n tin u e d
150
Value
A bsolute
F requency
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
Cum ulative
Adj F r e q
(percent)
154.00 1 1.3 1.3 9 7.4
172.00 1 1.3 1.3 98. 7
182.00 1 1.3 1.3 100. 0
Total 76 100.0 100.0 100. 0
Statistics
M ean 93.671 Std E r r o r 3. 664 M edian 91.500
Mode 71.000 Std Dev 31.946 V ariance 1020. 544
K u rto sis -0 .2 5 7 Skew ness 0. 560 Range 144.000
M inim um 38. 000 M axim um 182.000
i
i
151
T A B L E 36
F R E Q U E N C Y D ISTR IB U TIO N BY A G E AND FO R M :
T O T A L P E R F O R M A N C E AND V E R B A L SC O RES, F O R M B, A G E 18
Value
Absolute
F requency
Relative
F re q u e n c y
(percent)
Adjusted
F requency
(percent)
Cum ulative
Adj F r e q
(percent)
111. 00
1 1.3 1. 3 1.3
127.00 1 1. 3 1. 3 2. 6
128.00 1 1. 3 1.3 3.9
131.00 1 1. 3 1. 3 5. 3
141.00 1 1. 3 1.3 6. 6
145.00 2. 6 2. 6 9 .2
147.00 1 1. 3 1.3 10. 5
148. 00 1 1. 3 1. 3 11.8
149.00
1 1.3 1.3 13. 2
150.00 1 1. 3 1.3 14. 5
151.00 1 1.3 1. 3 15. 8
152.00 1 1.3 1.3 17. 1
154.00 1 1. 3 1.3 18.4
155.00 1 1.3 1. 3 19. 7
157. 00 1 1. 3 1. 3 21. 1
158.00 1 1. 3 1. 3 2 2 .4
159.00
1 1.3 1.3 23. 7
160. 00 1 1. 3 1. 3 25. 0
162.00 1 1. 3 1. 3 26. 3
166. 00 1 1. 3 1. 3 27. 6
169.00
1 1. 3 1. 3 28. 9
170.00 1 1. 3 1. 3 30. 3
172.00 2 2. 6 2. 6 32. 9
152
T A B L E 36 - -C o n tin u e d
Value
Absolute
F re q u e n c y
Relative
F re q u e n c y
(percent)
A djusted
F requency
(percent)
C um ulative
Adj F r e q
(percent)
173.00 1 1. 3 1.3 34. 2
175. 00 2 2. 6 2. 6 36. 8
176. 00 1 1.3 1.3 38. 2
179.00 2 2. 6 2. 6 40. 8
180.00 2 2. 6 2. 6 4 3 .4
182.00 1 1.3 1. 3 44. 7
184.00 2 2. 6 2. 6 4 7 .4
191.00 2 2. 6 2. 6 50. 0
195.00 2 2. 6 2. 6 52. 6
198.00 2 2. 6 2. 6 55. 3
199.00 2 2. 6 2. 6 57. 9
2 01.00 1 1.3 1.3 59. 2
202.00 1 1. 3 1. 3 60. 5
203.00 3 .9 3.9
64. 5
204.00 1 1. 3 1.3 65. 8
209.00
1 1. 3 1.3 67. 1
211.00 1 1. 3 1. 3 68.4
212.00 1 1. 3 1.3 69. 7
215.00 1 1. 3 1.3 71. 1
216. 00 1 1. 3 1.3 72.4
218.00 1 1. 3 1.3 73. 7
222.00 1 1. 3 1. 3 75.0
223.00 1 1. 3 1. 3 76. 3
226.00 1 1. 3 1. 3 77. 6
228. 00 1 1. 3 1. 3 78. 9
J
T A B L E 3 6 --C o n tin u e d
153
Value
A bsolute
F r e q u e n c y
Relative A djusted
F re q u e n c y F re q u e n c y
(percent) (percent)
C um ulative
Adj F r e q
(percent)
229.00
1 1.3 1.3 80. 3
230.00 2 2 .6 2 .6 82. 9
233.00 1 1.3 1.3 84. 2
235.00 3 3. 9 3. 9 88. 2
239.00
1 1.3 1.3 89. 5
242.00 1 1.3 1.3 90. 8
243.00 1 1.3 1.3 92. 1
250.00 1 1.3 1.3 93. 4
257. 00 1 1.3 1.3 94. 7
265.00 1 1.3 1.3 96. 1
274.00 1 1.3 1.3 97.4
283.00 1 1.3 1.3 98. 7
292.00 1 1.3 1.3 100. 0
Total 76 100.0 100.0
Statistics
100. 0
M ean 193.158 Std E r r o r 4 .4 6 9 M edian 193.00
Mode 203.000 Std Dev 38. 963 V a ria n c e 1518.146
K u rto sis -0. 363 Skew ness 0. 304 Range 181.000
M inim um 1 1 1 .000 M axim um 292. 000
154
T A B L E 37
ITOC SUMMARY TA BLE OF O C CU PA TIO N A L MEANS
AND STANDARD DEVIATIONS
Occupation M ean Std Dev Subtest
F o r m A
1-5
80.45 35. 74 V erbal
(N = 118)
105.15 18. 69 P e r fo r m a n c e
Total 185.60 46.00 P e r fo r m a n c e plus V erbal
F o r m B
1-5
95. 74 34. 70 V erbal
(N = 110)
100.02 15. 65 P e rfo rm a n c e
Total 195. 76 4 1 .9 9 P e r fo r m a n c e plus V erbal
F o r m s A and B
73. 84 23. 01 V erbal
6 and 7
(N = 38) 95. 92 14. 18 P e r fo r m a n c e
Total 169.76 30. 61 P e r fo r m a n c e plus V erbal
C H A P T E R V
SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS
S u m m a ry
P u rp o s e of Study
The a s s e s s m e n t of an individual's potential for c re a tiv ity offers
a new tool to both r e s e a r c h e r s and e d u c a to rs in fu rth erin g the dev elo p
m en t of hum an potential. The m e a s u r e m e n t of intelligence by m ea n s of
IQ te s ts has long been a recognized p ro c e d u re for individual a s s e s s
m ent. The distinction m ade by W e ch sler betw een v e rb a l and nonverbal
s c a le s of intelligence h a s also proven valuable in aiding guidance s p e
c ia lis ts and r e s e a r c h e r s in u nderstanding the n atu re of intelligence.
The purpose of this study was to aid in the developm ent of an i n s t r u
m e n t that would individually m e a s u r e c re a tiv e potential. Initial w ork
!
on the Individual T est of C reativity w as done by R i s s e r under the
su p e rv isio n of M e tfe sse l.
The p r e s e n t study attem pts to fu rth e r the developm ent of the j
Individual T e s t of C reativity by providing a p s y c h o m e tric a n a ly sis. A :
I
study of the fac to ria l s tr u c tu r e of the ite m s of the ITOC has been
155
156
p e rfo rm e d , followed by a study of the m a r k e r fa c to ria l validity based
upon G uilford's m a r k e r t e s ts of creativity. An an a ly sis has been
m ade of the in te rn a l s tr u c tu r e of the subtests of the ITOC by m e a n s of
in te rc o rre la tio n . T ables and distrib u tio n s have been produced c on
verting r a w s c o r e s to sta n d a rd iz e d s c o re s . D e sc rip tio n s of low s o c io
econom ic, o r culturally disadvantaged groups, and the population
studied a s a whole a re p re s e n te d . Finally, an a n a ly sis of d isc rim in a n t
validity has been m ade by m e a n s of com paring the c o rr e la tio n s betw een
the ITOC and s e v e r a l tra d itio n al m e a s u r e s of sc h o la stic ability or
p e rfo rm a n c e .
Definitions
O p eratio n al and conceptual definitions w e re provided. C r e a tiv
ity was defined by the Individual T e s t of C reativity. The th eo re tic al
m odel for c re a tiv ity w as defined by the m a r k e r te s ts developed by
J. P. Guilford.
A ssu m p tio n s, L im ita tio n s, and
D elim itations
The b a s ic a s su m p tio n s and lim itations upon which this study
w ere b a sed w e re set forth.
Review of the L ite r a tu r e
Five a r e a s of the l ite r a tu r e concerning c re a tiv ity w e re
review ed: (1) th e o rie s and definitions of c re a tiv ity , (2) cognitive
157
c h a r a c te r is tic s of the c re a tiv e individual, (3) c re a tiv ity and in te lli
gence, (4) cognitive p r o c e s s e s in being c re a tiv e , (5) p ersonality and
m otivational c h a r a c te r is t ic s of the c re a tiv e individual.
M uch of the confusion in r e s e a r c h concerning creativity r e s u lts
fro m different th e o re tic a l form ulations using d iffe re n t o perational
definitions. H o w ev er, som e tre n d s can be seen. F o r cognitive c a p a c
ities, it a p p e a rs that the c reativ e p e rso n is usually found am ong those
people who have an above a v e ra g e intelligence, who a re capable of
effective u se of this intelligence, who can produce unusual and a p p r o
priate id ea s, who have exceptional retention, and who have a m o re
ready a c c e s s to life e x p e rie n c e s . They a r e ge n e ra lly m o re flexible in
their ap p ro a c h to p ro b le m -so lv in g ; they a r e able to synthesize rem o te
or d is p a ra te ideas; and they have exceptional d isc rim in a tiv e pow ers of
observation.
T h e re s e e m s to be little rela tio n sh ip betw een creativity and
intelligence. H o w ev er, th e re is som e suggestion that a basic level of
a verage in tellectu al p e rfo rm a n c e is n e c e s s a r y before creative abilities
can occur.
Study into the effects of v erb al fluency on the high c o rre la tio n s
with m e a s u r e s of c re a tiv ity and the low c o rr e la tio n s for creativ ity and
intelligence do not su p p o rt the c ritic is m that r e s e a r c h e r s a re being
m isle d by the c o m m o n v a ria n c e of v e rb a l fluency.
158
Although the evidence is far fro m com plete, one of the i m p o r
tant m otivational c h a r a c te r is tic s of the c re a tiv e p e rs o n s e e m s to be a
strong in trin sic m otivation that involves a d e g re e of p e rs e v e r a n c e and
independence that allows h im to p e rf o r m his w ork without e x c essiv e
c o n c ern for the opinion of o th e rs . He does not s e e m to w ork in fear of
m aking m is ta k e s . He s e e m s to believe that his ideas a re valuable
r e g a r d le s s of the opinions of o th e rs .
In the r e a lm of p e rso n a lity , it would s e e m that the c re a tiv e p e r
son is generally c h a ra c te r iz e d by a lack of e x c e s s iv e control over
unconscious im p u lses. C re a tiv e m en and w om en se e m to have a c c e s s
to th e ir m o re fem inine and m asc u lin e sides. This s e e m s to o c c u r
without evidence of pathology.
M ethod and P r o c e d u r e s of the Study
The ITOC and the Guilford m a r k e r te s ts w e re d e s c rib e d . Sub
je c ts w e re selected for the study on the b a sis of availability. All s u b
je c ts w e re given both the ITOC and the Guilford m a r k e r te s ts in s e p a
ra te s e s s io n s , one group and one individual. In a second portion of
the study, a second f o rm of the ITOC w as a d m in is te re d in such a m a n
n e r a s to yield t e s t - r e t e s t reliab ility r e s u lts . A dditional validity data
w e re g a th e red fro m school r e c o r d s w here this w as available. The
r e s u lts w e re s c o re d and p re p a r e d for data p r o c e s s in g by the th re e
tra in e d e x a m in e r s u sed in the study.
.. . . . . . . 159
The data w ere analyzed at the USC C om puter C enter in the
following w ays. Both F o r m s A and B of the ITOC w ere subjected to
facto r a n a ly sis. The resu ltin g fa c to r analysis w as used to g roup item s
into fa c to rs that w ere then c o r r e la te d with the Guilford m a r k e r te s ts .
The reliab ility data w e re c o r r e la te d for both su b test re lia b ilite s , v e r
bal, p e rf o r m a n c e , and total te s t re lia b ilitie s .
C o rre la tio n s betw een the ITOC su b tests and available SCAT,
IQ, and g rad e point a v e ra g e s w e re p e rfo rm e d . Additional s ta tis tic a l
d e s c rip tio n s of the p e rfo rm a n c e of the sam ple on the ITOC w ere
provided.
Conclusions
F a c to r ia l Study
The lack of consistency betw een the sa m p le s taking F o r m s A
and B in th eir inter c o rre la tio n s with the Guilford m a r k e r te sts m ak es
it difficult to give these fa c to rs n a m e s that integrate all of this i n fo r
m ation. Some of the inconsistency in su b te st p e rfo rm a n c e is due to
low reliab ility of su b te sts, lim ited length of the ite m s, and possible
difference within the sa m p le s.
It is also im p o rta n t to note th a t r e s e a r c h su g g e sts th e r e m ay
be v a ria tio n in the SI factor m e a s u r e d by the Guilford m a r k e r te s t at
different age levels (Guilford, 1967, p. 148).
160
In exam ining Table 7 for the in te rc o rre la tio n s of the Guilford
m a r k e r te s ts for F o r m s A and B, we see different p a tte rn s of i n t e r
c o rre la tio n s . This suggests that F o r m s A and B a r e m e a s u r in g d if
ferent ab ilities. B ecau se of the o v e ra ll sim ila rity in the fac to r a n a ly
sis, and the v e ry s im ila r ite m content of both fo rm s , a different i n t e r
pretation is suggested to this w r ite r . The sam ple that took F o r m A
was m ainly f ro m th re e schools in a predom inantly m id d le - to u p p e r-
c la s s a re a . F o r m B w as given in th re e schools that d ra w fro m a
b ro a d e r range of s o c io -e c o n o m ic levels. T his was the group with a
la r g e r n u m b e r of E O P students who would be c la sse d a s low s o c io
econom ic.
With r e s e r v a tio n , the following is an attem pt to provide the best
labeling possible at th is tim e fo r the fac to rs found on the ITOC.
B ecause of the o v e ra ll s im ila rity betw een the factor s tr u c tu r e that
a p p eared in all th re e a n a ly s e s and on both f o rm s , it would s e e m a d v is
able to give the sa m e lab e ls to F o r m s A and B.
F a c to r I can b e s t be defined by the high loadings of Item s 3, 4,
5, 6, 7, and 11 on F o r m s A and B. The hig h est loadings come in the
v e rb a l su b tests F luency and Flexibility of Thinking. The b est nam e
for this fac to r would s e e m to be D ivergent Sem antic P ro d u c tio n s.
Some support for this is seen in the significant c o rr e la tio n s found for
this factor and the Guilford m a r k e r te s ts . T h e re is so m e c o n tr a
indication found for this by the positive r = 0. 39 on the m a r k e r te s t
161
O bject Synthesis (NMT). H ow ever, this would s e e m to be m odified by
the high in te r c o r re la tio n s betw een this m a r k e r te s t and the other m o re
divergent te s t s seen in Table 7.
The second fac to r on F o r m A is defined by Item s 14 and 15 (see
Table 8). In Table 9, it is identified as F a c to r III, Item s 10, 14, and
15. R i s s e r hypothesized that these su b tests would c o rr e la te with the
SI fa c to rs of DFU and D FC. The two m o st significant c o rre la tio n s in
T ables 8 and 9 a r e with the Guilford m a r k e r te s t m e a s u rin g Fluency
(DFS). T h ese c o rre la tio n s a r e low (r = +0. 36 and r = +0. 33), but s ig
nificant at the 0. 001 level of confidence. The best n am e for this factor
would s e e m to be D ivergent Production of F ig u ra l S y stem s. A later
rec o m m e n d a tio n will be m ade that m ight s e p a r a te these item s into
their hypothesized units and c la s s e s .
The next fac to r to be co n sid ered is defined by Item s 1 and 2 on
F o r m s A and B of the ITOC. In Tables 8 and 9 it is seen as F a c to r HI.
The only significant c o rr e la tio n in the two tables is with the m a r k e r
Utilities te s t w h ere r = +0. 29 (F o rm A). T his facto r is difficult to
nam e. F o r the p r e s e n t, it s e e m s best to label this factor a s D iv e r
gent P ro d u c tio n of S em antic C la s se s .
Ite m s 16 and 17 define the fourth fa c to r on F o r m A (F a c to r I in
Table 9), with Item s 12 and 13 being included for F o r m B. H e re the
difference in the p e rfo rm a n c e of the sa m p le s taking F o r m s A and B
a re m o st noticeable. F o r m A has s e v e ra l significant c o rre la tio n s with
162
the m a r k e r te s ts , F o r m B has none. The highest c o rr e la tio n with the
m a r k e r te s ts is in the hypothesized a r e a of E lab o ratio n . The c o r r e l a
tion is +0. 42 ( F o r m B), with the te s t F ig u re P ro d u ctio n (DFI). The
b e st n am e considered for this fa c to r is D ivergent P ro d u c tio n of F ig u ra l
Im p lic a tio n s .
The last factor is r e p r e s e n te d by Item s 8 and 10 on F o r m A and
Item s 8 and 9 on F o r m B of the ITOC. T hese item s a r e supposed to be
m e a s u rin g originality by re q u irin g the subjects to give cle v e r
r e s p o n s e s . Its lack of significant c o rre la tio n with the m a r k e r te s ts
leav es in doubt its re la tio n sh ip with the SI m odel. This w r ite r feels
that th ere is little rela tio n sh ip with these ite m s and the m a r k e r tests
used, but that they m ight be tapping the SI factor D ivergent P roduction
of S em antic Units.
In conclusion, the evidence suggests that the ITOC does m e a
sure m any of G uilford's S tru c tu re of Intellect fa c to rs a s so c ia te d with
creativity. The loadings do not alw ays o c c u r in the p red ic te d d i r e c
tion, but th e re a r e sufficient significant loadings to allow us to c o n
clude a rela tio n sh ip does e x ist betw een the ITOC and the Guilford
S tru c tu re of Intellect m odel. The eventual use of this te s t as a m o re
culturally fair p re d ic to r is p ro m isin g .
Subtest In te rc o rre la tio n s
It is useful to note that the in te r c o r re la tio n s am ong the su b tests
a r e g e n e ra lly low, especially the in te r c o r re la tio n s in the p e rfo rm a n c e
subtest. The in te r c o r re la tio n s betw een the v e rb a l and p e rfo rm a n c e
portions of the ITOC a r e generally low er for F o r m B than for F o r m A.
The t e s t - r e t e s t reliab ility study also p ro v id e s som e useful inform ation
in analyzing the p sy c h o m e tric c h a r a c te r is t ic s of the ITOC. The r e l i
abilities fo r F o r m A a r e generally low er than the re liab ilitie s for
F o r m B. This difference betw een F o r m A and F o r m B is rep o rted
throughout this study. In attem pting to a d m in is te r both f o rm s , all of
the e x a m in e r s noted that the in stru ctio n s and f o rm a t for F o r m B lent to
a m o re sta n d a rd iz e d a d m in istra tiv e p ro c e d u re than was true of F o r m A.
T h e re a r e also som e slight subtle d iffe re n c es in the wording of the
in stru ctio n s on F o r m s A and B that m ay be contributing to the d iffe r
ences betw een these two te s ts .
T h e re w as also another possible in te rp re ta tio n that needs to be
c o n sid e red . All of the subjects knew they w e re p articipating in an
e x p e rim e n t studying creativ ity, and m o s t w ere cooperative. T here
w e re a few who com plied, but did not s e e m w e ll-m o tiv ate d while they
w e re taking the te s ts . The m a jo rity w e re positive in th e ir m otivation
and e x p re s s e d the feeling that this te s t was "different" fro m any they
had taken in the p a st, and m o re "fun. " It w as the subjective i m p r e s
sion of the e x a m in e r s that in m any in sta n c es the subjects in te rp re te d
the in stru ctio n s within the fra m e w o rk of w hat they thought creativity
w as. On the su b te st P ro p e n sity for E la b o ra tio n , in the p e rfo rm a n c e
164
portion, subjects w ere p re s e n te d with a stim ulus line and asked to see
this as the beginning of a p ictu re and to continue and finish the p icture
on th eir own. T here se e m e d to be two ways in which subjects
respo nded to this. Some attem pted to d raw a picture in detail. O th e rs
attem pted to provide a very sim ple, quick sketch, a s if they w e re t r y
ing to d raw som ething unique or unusual. Another in te rp re ta tio n of the
in te r c o r re la tio n s is suggested by the inter c o rre la tio n of 0.40 betw een
the p e rfo rm a n c e sub tests Fluency of Thinking and Flexibility of T h in k
ing found on F o r m B, and r = +0. 27 found on F o r m A. Both of these
su b te s ts re q u ire the subject to produce draw ings, but have tim e lim its.
In the factor a n a ly sis, it w as noted that these two ite m s w ere on a
com m on factor. It is possible that because of the tim e lim it involved,
these two te s ts m e a s u r e p r im a r ily fluency, ra th e r than flexibility.
R eliability
The o v e ra ll re lia b ility of the ITOC is favorable, with the r e l i
ability of F o r m B being som ew hat h ig h e r than that of F o r m A. R e lia
bility could be im proved if som e of the subtests w e re dropped or m o d i
fied. It is felt by this e x a m in e r that the reliability of the v e rb a l su b te st
for O riginality is spuriously high. It could be noted th a t the c o rr e la tio n
coefficient for both of th e se F o r m A and F o r m B re lia b ilitie s is +0. 87.
This te s t provided all the e x a m in e r s with the g r e a t e s t difficulty in
scoring. T h e re fo re , the p rin c ip al e x a m in e r sc o re d all of the t e s t-
r e te s t orig in ality ite m s . In his a s sig n m e n t of values so m e e le m e n t of
c rite r io n contam ination m u s t be c o n sid ered . This is not tru e of the
other su b te sts. Reliability could be im proved fu rth e r by lengthening
the p e rfo rm a n c e su b te sts O riginality and P ro p e n sity for E laboration.
It is the belief of this w r ite r that if these su b te sts w ere lengthened
they m ight also fac to r out as s e p a ra te fac to rs.
While t e s t - r e t e s t reliability with an in te rv al usually yields a
lower reliab ility coefficient, the ITOC total te s t reliability is high for
both f o rm s . F o r m B is at p r e s e n t high enough for use in individual
prediction and with som e m odification F o r m A 's reliability can be
im p ro v ed to the sa m e level.
D escrip tiv e S ta tistic s
Although no fo rm a l te sts of significance w ere p e rfo rm e d , an
exam ination of the s u m m a ry table of m e a n s and standard deviations
given by age in y e a r s suggests that th ere is no developm ental tre n d
noted for these r e s u lts .
T h e re does s e e m to be so m e difference evidenced in the m e a n s
and s ta n d a rd deviations for the occuation group 6 and 7. In t e r m s of
W a r n e r 's C la ssific a tio n S ystem , this could be d e s c rib e d as low s o c io
econom ic. E x a m in e r variable h a s often been shown to be im p o rta n t in
individual testin g . One possible explanation fo r the d iffe re n c es
betw een the two m e a n s , oth er than a difference in c re a tiv e p e rf o r -
" 166
m an c e on the Individual T e s t of C reativity, could be the ra c ia l d iff e r
ence betw een the e x a m in e r and exam inee. It would s e e m that this
va ria b le should be investigated in the future.
S u m m a ry of Conclusions
1. The fa c to r an a ly sis of F o r m s A and B of the ITOC showed
s im ila r s tr u c tu r e , re s u ltin g in five factors th at accounted for the v a r i
ance of the test. T h e se fa c to rs w e re given the following nam es:
a. D iv e rg e n t S em antic P ro d u ctio n s
b. D iv erg en t P ro d u ctio n of F ig u ra l S y stem s
c. D ivergent P ro d u ctio n of Sem antic C la s se s
d. D iv erg en t P roduction of F ig u ra l Im plications
e. D ivergent P ro d u ctio n of Sem antic Units
2. The study of th e fac to ria l m a r k e r validity of the ITOC with
G u ilfo rd 's m a r k e r te s ts su p p o rts the findings that th e re is a significant
rela tio n sh ip betw een the SI m odel and the Individual T e st of C reativity.
This rela tio n sh ip is as follows:
F o r m A
a. F a c to r I had its h ighest significant c o rre la tio n with
SI fa c to r DMC (r = +0.031, probability 0.001).
b. F a c to r II had its h ighest significant c o rr e la tio n with
SI fa c to rs DFS (r = +0. 36, p robability 0. 001) and D FI
(r = + 0.29, probability 0.002).
c. F a c to r III had its highest significant c o rr e la tio n with
SI fa c to r DMC (r = +0. 29, p robability 0. 002).
d. F a c to r IV had no s ig n ific a n t c o r r e la tio n w ith SI f a c to r
e. F a c to r V had its h ig h est significant c o rre la tio n s with
SI fac to rs DFS (r = +0. 17, probability 0.04), DMC
(r = +0. 16, probability 0. 05), and DFI (r = +0. 15,
probability 0. 05).
F o r m B
a. F a c to r I had its h ig h est c o rre la tio n s with SI fa c to rs
NMT, DMT, and DFI. The c o rre la tio n s w e re +0. 39,
+ 0.37, and +0.31, re s p e c tiv e ly , with all p ro b ab ilitie s
at 0. 001.
b. F a c to r II had its h ig h est significant c o rre la tio n s with
SI fa c to rs DFS (r = +0. 33, probability 0. 001) and D F I
(r = +0.38, probability 0.004).
c. F a c to r III had no significant c o rre la tio n s with SI
fac to rs.
d. F a c to r IV had its h ig h est significant c o rre la tio n s with
SI fa c to rs DFI (r = +0. 42, probability 0. 001) and DMC
(r = +0.25, probability 0.005).
e. F a c to r V had its hig h est significant c o rre la tio n s with
SI fa c to rs D FI and CMI, both r = +0.22, with p r o b a
b ilities of 0.01.
3. The subtest in te r c o r re la tio n s a re low and support the
o rig in a l a u th o r's a tte m p t to produce a te s t that m e a s u r e s both v e rb a l
and p e rfo rm a n c e a s p e c ts of creativity.
4. The low su b test in te r c o r re la tio n s give p r e lim in a ry support
for using su b test profile a n aly sis to study differences in the a b ilities
u s e d by d ifferent types of c reativ e productions.
5. The su b test re lia b ilitie s w e re m o d e ra te to high.
6. The total t e s t - r e t e s t r e lia b ilitie s w e re high for both
F o r m s A and B of the ITOC.
7. No developm ental tre n d s w e re noted in m e a n s for each fo rm
of the ITOC, within the ages d e sc rib e d .
8. Some possible socioeconom ic d ifferen ces w e re noted but
no te s ts of significance w e re p e rfo rm e d . The possible ex iste n ce of
m o d e r a to r v a ria b le s was noted.
9. D isc rim in a n t validity betw een the ITOC and SCAT, IQ, and
GPA show a usual picture of low c o rre la tio n s . Higher c o rre la tio n s a r e
found betw een the ITOC and individually m e a s u r e d IQ. The verbal
portion of the ITOC is m o r e closely rela te d to individually m e a s u re d
IQ than the p e rfo rm a n c e portion of the ITOC.
Re com m endations
M odification of the ITOC
1. I would re c o m m e n d that the v e rb a l subtest for O riginality
be elim inated. This will red u ce difficulty in scoring. If this te s t w e re
to be reta in e d , it would s e e m advisable to r e m o v e the differences
found betw een F o r m A and F o r m B. F o r m A has two cartoons for
which the subject is asked to provide a r e s p o n s e . F o r m B has one
c a rto o n and two lim e r ic k s to which the subject is to respond.
2. C o n sid eratio n should also be given to elim inating the s e c
ond te s t in the p e rfo rm a n c e section, Sensitivity to P r o b le m s . The
draw ings on F o r m s A and B have som e d e g re e of am biguity about th em
169
which m ak es it difficult for subjects to decide if som ething r e p re s e n te d
is odd o r foolish or ju st som ething the a rtis t failed to illu s tra te in his
draw ing. It also does not m ake a useful contribution to the fac to ria l
s tru c tu re .
3. The in stru c tio n s given to the subjects for the Fluency of
Thinking p e rfo rm a n c e ite m now r e a d s , "Now I want to see how m any
things you can d ra w in four m in u te s. Each draw ing m u st have a c ircle
in it. . . . " It would s e e m that som e subjects in te r p re t this as giving
license to d ra w a b s tr a c t draw in g s. If the instructions w e re a lte re d by
including the p h ra s e " re c o g n iz a b le things or o b jec ts" this m ight reduce
this type of e r r o r on the p a r t of the subjects taking the te st.
4. Again in the F lexibility of Thinking p e rfo rm a n c e subtests
for both F o r m s A and B, the instru ctio n s to d raw som ething c ause dif
ficulty for subjects in te rp re tin g this in an a rtis tic m a n n e r. T h ese s u b
jects tend to produce a b s tr a c t draw ings which a r e difficult to classify
according to the existing sc o rin g c r ite r ia . Changing the instru ctio n s
to re a d , "Again I w ant you to d ra w som ething rec o g n iza b le " m ight
im prove the u n ifo rm in te rp re ta tio n of this item by subjects.
5. I would r e c o m m e n d that the p e rfo rm a n c e su b te st O riginality
be lengthened by doubling its existing nu m b er of concepts. If this w ere
done, and the P ro p e n sity for E la b o ra tio n test w e re a lso lengthened in
the p e rfo rm a n c e section, the reliab ility of the ITOC would be im proved.
170
Also, the fa c to r m akeup of the O riginality and P ro p e n sity for E l a b o r a
tion s u b te s t would be m o re c le a rly defined.
6. Some changes in the s c o rin g m an u al would a lso im p ro v e the
reliab ility of sco rin g and elim inate som e confusion that d oes e x ist when
e x a m in e r s a tte m p t to sco re this test. In the su b test Sensitivity to
P r o b le m s of the v e rb a l portion, F o r m A and F o r m B differ in the
breakdow n of the ex a m p les given to guide the s c o r e r . It would s e e m
that F o r m B p rovides a be tte r breakdow n, helping the e x a m in e r id e n
tify overlapping r e s p o n s e s . M ore ex a m p les m ight also aid the s c o r e r .
7. In the m anual for F o r m A, the v e rb a l subtest Fluency of
Thinking p ro v id e s a m o re com plete set of in stru ctio n s that is not
included in the m an u al for F o r m B. This also should be c o rre c te d .
8. In the m anual for F o r m B, a hat is included as a re c ta n g u
lar object and cre d ite d as a c o r r e c t r e s p o n s e . This s e e m s in c o n s is
tent with the in stru ctio n s, since the in stru c tio n s re a d "one point is
given for each draw ing of som ething sq u a re that the subject identifies. "
It goes on to say, " c re d it is not given, h o w ev er, to draw ings which a re
m o r e re c ta n g u la r than square if the objects draw n a re also actually
m o re r e c ta n g u la r than sq u a re . " Since hats a r e g en erally c ir c u la r , it
cannot be se en by this w r ite r how a hat should be included a s a c o r r e c t
re s p o n s e .
9. M ore ex a m p les should be provided for the s c o re for the
Flexibility of Thinking p e rfo rm a n c e te s t. This would im prove the
171
o v e r a ll r e lia b ility of th is s u b te s t. The P r o p e n s ity fo r E la b o ra tio n
s u b te s t could a ls o be p ro v id e d w ith m o r e e x a m p le s w hich w ould help
im p ro v e s c o r e r re lia b ility .
S u g g e stio n s fo r F u r th e r Study
1. F u r th e r p re d ic tiv e and d is c r im in a n t v a lid ity s tu d ie s should
be done w ith th e ITO C. S p ecial a tte n tio n should be paid to the d i f f e r
e n c e in the p e r f o r m a n c e and the v e rb a l s u b te s ts a s th ey r e la te to p r e
d ic tiv e and d is c r im in a n t v alid ity . T h is h o ld s fru itfu l p o s s ib ilitie s for
the ITOC being an e x tr e m e ly u s e fu l te s t.
2. A study of the e ffe c ts of d iff e re n t e x a m in e r - e x a m in e e v a r i
a b le s and th e ir e ffe c ts on ITOC s c o r e s should be m a d e .
3. P a r a l l e l f o r m r e lia b ility w as not stu d ie d and th is should be
done to d e m o n s tr a te th e IT O C 's p a r a l le l re lia b ility .
4. Som e a tte n tio n m ay be given to the im p ro v e d f a c to ria l
s tr u c tu r e if the s u b te s ts a r e len g th e n ed .
5. A study of a g e , sex , and s o c io e c o n o m ic f a c to r s should be
m a d e to e s ta b lis h the p r e s e n c e of m o d e r a to r v a r ia b le s in the ITO C.
R E F E R E N C E S
172
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A P P E N D I X E S
A P P E N D IX A
S T A T IS T IC A L DATA
186
ID No. F o r m
Age in
M onths Occ. 1 2
V erbal
3 4 5 6 1
Perform ance
2 3 4
001 B 213 06 20 15 03 20 12 08 21 19 06 27
002 B 228 06 09 10 03 10 13 06 15 17 07 10 ;
003 A 241 06 22 14 20 11 10 11 14 19 14 17
004 B 207 05 22 23 17 44 10 17 25 20 12 34
005 A 218 05 33 23 16 34 13 16 20 16 12 24 ;
006 B 232 02 12 17 03 09 11 06 23 17 12 11
007 A 228 04 10 13 06 12 07 09 13 11 08 05
008 A 226 05 13 18 09 17 06 08 14 16 17 34
009 B 222 05 14 06 04 04 10 07 28 17 08 24
010 A 220 01 20 16 12 19 10 21 15 22 17 28
o n B 224 07
19 27 12 41 13 20 22 22 19 29
012 B 221 07 26 11 07 27 08 09 25 21 08 24
013 A 221 05 12 14 08 21 07 11 20 16 24 30
014 B 217 01 09 14 08 12 11 07 16 17 07 22
015 A 227 04 08 16 06 12 08 08 18 19 15 23
016 A 224 02 35 25 15 37 10 12 23 27 18 47
017 A 217 03 21 16 10 23 08 08 19 22 15 08
018 A 223 01 34 18 20 17 07 13 20 25 23 08
019 B 222 02 17 14 11 08 11 07 15 18 09 28
020 B 224 04 19 19
07 08 07 05 21 20 08 19
021 A 227 05 05 08 08 07 09 10 23 16 14 21
022 B 231 05 17 19 21 22 11 11 28 19 06 04
023 B 213 01 21 11 12 24 08 14 22 17 12 20
024 B 223 04 27 23 08 37 09 07 27 23 06 27
025 A 227 04 19 13 15 19 10 16 24 21 08 13
026 B 217 04 35 22 12 23 09 13 21 20 07 34
027 B 219 04 30 29 20 38 09 12 27 19 12 29
i
TABLE OF RAW DATA
Individual T e st of C re a tiv ity
P e rfo rm a n c e Item No.
2 3 4 5 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
19 06 27 14 05 12 08 07 08 10 03 10 05 04 03 08 21 19 06 27 14
'
17 07 10 21 11 05 04 05 05 03 05 05 05 04 04 06 15 17 07 10 21
k 19 14 17 18 12 14 08 06 08 20 06 05 03 02 05 11 14 19 14 17 18
* 20 12 34 15 05 11 11 14 09 17 17 27 03 03 04 17 25 20 12 34 15
1 16 12 24 20 05 18 15 10 13 16 15 19 04 05 04 16 20 16 12 24 2C
J 17 12 11 14 08 06 06 09 08 03 04 05 03 04 04 06 23 17 12 11 14
> 11 08 05 15 07 04 06 07 06 06 07 05 02 02 03 09 13 11 08 05 If
1 16 17 34 23 18 08 05 10 08 09
11 06 02 03 01 08 14 16 17 34 2:
3 17 08 24 18 07 08 06 04 02 04 05 05 02 02 03 04 28 17 08 24 11
5 22 17 28 19 12 07 13 07 09 12 12 07 04 02 04 21 15 22 17 28 1 <
2 22 19 29 08 11 07 12 27 22 12 23 18 05 05 03 20 22 22 19 29 0
5 21 08 24 14
09 18 08 08 03 07 10 17 04 02 02 09 25 21 08 24 1
0 16 24 30 19 09 04 08 07 07 08 12 09 03 03 01 11 20 16 24 30 1
6 17 07 22 15 07 05 04 07 07 08 05 07 04 03 04 07 16 17 07 22 1
8 19 15 23 20 04 02 06 08 08 06 08 04 03 03 02 08 18 19
15 23 2
3 27 18 47 23 06 15 20 12 13 15 17 20 04 03 03 12 23 27 18 47 2
9 22 15 08 17 17 04 17 07 09 10 14 09 04 03 01 08 19 22 15 08 1
0 25 23 08 17 17 20 14 07 11 20 09 08 03 02 02 13 20 25 23 08 1
.5 18 09 28 09 05 10 07 07 07 11 03 05 06 02 03 07 15 18 09 28 0
:i 20 08 19 13 02 11 08 11 08 07 04 04 03 02 02 05 21 20 08 19
1
!3 16 14 21 20 15 03 02 04 04 08 03 04 04 02 03 10 23 16 14 21 2
18 19 06 04 14 04 08 09 11 08 21 09 13 03 03 05 11 28 19 06 04 1
12 17 12 20 09 08 14 07 06 05 12 08 16 03 02 03 14 22 17 12 20 <
17 23 06 27 21 08 12 15 13 10 08 13 24 02 04 03 07 27 23 06 27 4
24 21 08 13 22 17 09 10 06 07 15 09 10 02 03 05 16 24 21 08 13 4
21 20 07 34 15 19 19 16 13 09
12 11 12 05 02 04 13
21,
20 07 15
27 19 12 29 10 07 14 16 17 12 20 23 15 03 03 03 12 27 19 12 29
16
14
21
18
15
20
14
15
23
18
19
08
14
19
15
20
23
17
17
09
13
20
14
09
21
22
15
10
Guilford M a rk e r T este
1 2 3 4 5 6
SCAT
V N T T
IQ
V N
B
17 GPA 1 2
V erbal
3 4 5
05 58 11 23 26 44 20 43 13 56
11 30 08 16 15 22 05
;
114 2150 17 14 04 11 14
12 21 35 56 082 080 083 2304 18 13 25 11 12
05 65 15 29 21 48 20 35 41 76 126 121 128
05 42 15 24 27 43 21 38 47 85 107 115 098
08 26 28 54 101 2360 09
21 08 12 11
07 31 03 15 18 12 09 12 15 27
18 70 14 43 37 42 16
07 42 06 21 10 19 10 22 27 45 099 091 105
12 44 17 28 35 46 18 121 3590
11 54 09
37 29 46 16 25 33 58 2380
09 41 07 20 28 46 18
24 26 50 2670
09 55 18 38 31 46 16
45 28 73 1900
07 28 12 24 32 38 15 2020
•
04 73 11 28 27 35 23
36 48 84 122 118 125
06 48 09 27 21 37 16
099 090 108 2756 30 23 21 23 O'
17 27 14 23 21 27 07
47 39
86
17 36 14 24 25 41 19
05 40 18 18 21 26 09
02
29
26 45 2830 18 18 10 10 0
15 51 14 30 24 52 18 37 29
66 120 121 120
04 3720 19
24 19 20 1
08 36 17 35 32 41 21 104 105 103 3000
08 55 11 37 25 45 19
!
17
29
15 44 15 10 15 19
1
19 41 24 35 23 39 19
07 51 09 27 23 46 20 31 22 53
18
CAT
N
IQ
V
R e te s t ITOC
T T N GPA 1 2
V erb al
3 4 5 6 1
P e rfo rm a n c e
2 3 4 5 6 Sex
13 56
- M
114 2150 17 14 04 11 14 05 17 20 08 23 13 11 M
35 56 082 080 083 2304 18 13 25 11 12 13 15 20 14 21 15 13 M
41 76 126 121 128
M
47 85 107 115 098
M
28 54 101 2360 09 21 08 12 11 05 22 16 12 18 16 07
M
15 27
F
M
27 45 099
121
091 105
3590
-
M
M
33 58 2380
F
26 50 2670
F
28 73 1900
2020
M
F
48 84 122 118 125
F
099 090 108 2756 30 23 21 23 09
06 26 27 23 21 24 05 F
39 86 F
M
F
26 45 2830 18 18 10 10 07 10 23 21 12 24 23 05 M
29 66 120 121 120
F
3720 19 24 19 20 11 10 23 20 09 05 14 04 F
104 105 103 3000
F
F
15 44 15 10 15 19
11 10 31 21 06 13 22 24 F
F
22 53 F
1
2
1
1
1
1
0
1
1
2
1
1
1
1
1
1
1
2
2
1
2
1
2
1
0
1
2
Age in
F o r m M onths Occ.
V e rb a l
1 2 3 4 5 6 1
A 227 04 29
A 227 05 24
B 210 03 15
A 227 01 12
B 225 02 28
B 225 04 22
B 223 03 57
B 223 04 17
A
00
O'
04 05
B 214 05 14
B 227 01 13
B 218
01
24
B 223 01 15
A 225 02 27
A 225 07 09
A 217 06 15
B 215 02 44
A 227 02 32
B 227 04 21
B 226 02 50
A 227 03 08
A 202 02 21
B 224 04 19
A 218 00 10
B 223 04 07
A 218 01 24
A 225 01 22
18 18 13 16 22
15 06 06 10 19
08 25 10 08 21
12 14 07 21 19
07 16 09 04 23
06 11 11 17 26
15 22 07 15 21
14 78 10 15 30
05 08 05 09 23
08 13 06 11 25
07 19 10 10 23
03 13 08 06 23
12 36 12 18 18
11 22 09 10 15
05 07 10 05 14
03 12 07 11 13
24 38 10 22 28
26 20 08 24 23
11 18 10 13 30
24 43 10 11 23
08 06 12 10 21
16 25 13 18 25
11 22 09 13 22
12 21 07 22 17
03 13 14 06 14
10 15 12 09
15
20 28 07 20 26
19
08
14
09
09
24
28
38
06
12
13
08
21
15
09
15
44
13
19
44
14
25
20
24
09
16
22
T A B L E O F RAW D A T A --C ontin
Individual T e s t of C re a tiv ity
P erfo rm an ce Item No.
2 3 4 5 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
23 05 25 16 10 15 14 08 11 18 08 10 04 04 05 16 22 23 05 25 16
11 13 26 21 03 09 15 05 03 15 02 04 02 02 02 10 19
11 13 26 21
17 06 18' 15 08 10 05 08 06 08 13 12 09 02 05 08 21 17 06 18 15
22 12 11 17 24 07 05 05 04 12 11 03 02 02 03 21 19 22 12 11 17
22' 10 27 18 07 19 09 05 04 07 07 09 03 03 03 04 23 22 10
29 18
22 05 26 14 14 12 10 12 12 06 06 05 03 04 04 17 26 22 05 26 14
15 11 11 08 01 24 33 14 14 15 13 09 04 02 01 15 21 15 11 11 08
17 10 20 19 06 08 09 19 19 14 24 54 03 02 05 15 30 17 10 20 19
23 08 31 16 04 04 01 02 04 05 05 03 02 00 03 09 23 23 08 31 16
19 08 33 23 17 07 07 07 05 08 03 10 02 02 02 11 25 19 08 33 23
21 11 34 13 08 06 07 09 04 07 06 13 05 03 02 10 23 21 11 34 13
22 14 25 17 06 18 06 04 04 03 06 07 03 03 02 06 23 22 14 25 17
22 07 15 19 08 08 07 15 06 12 18 18 04 03 05 18 18 22 07 15 19
21 15 27 10 03 12 15 06 09 11 14 08 02 02 05 10 15 21 15 27 10
18 09 09 17 02 02 07 06 03 05 04 03 03 04 03 05 14 18 09 09 17
22 15 31 17
09 07 08 06 09 03 07 05 04 02 01 11 13 22 15 31 17
20 18 35 18 06 20 24 23 21 24 22 16 05 03 02 22 28 20 18 35 18
19 13 22 23 08 21 11 07 06 26 14 06 04 02 02 24 23 19 13 22 23
24 07 17 26 06 90 10 09 12 11
09 09 03 03 04 13 30 24 07 17 26
19 12 29 15 12 27 23 22 22 24 22 21 03 05 02 11 23 19 12 29 15
23 05 05 20 05 04 04 07 07 08 04 02 04 03 05 10 21 23 05 05 20
26 15 14 19 08 10 11 11 14 16 17 08 05 05 03 18 25 26 15 14 19
20 18 48 20 13 13 06 19 11 11 10 12 03 03 03 13 22 20 18 48 20
23 05 29 14 16 05 05 13 11 12 11 10 03 03 01 22 17 23 05 29 14
15 08 23 08 09 04 03 03 06 03 07 06 04 05 05 06 13 15 08 23 08
11 08 20 12 07 16 08 06 10 10 08 07 04 04 04 09 15 11 08 20 12
28 17 39 21 06 14 08 12 10 20 14 14 03 03 01 20 26 28 17 39 21
17
10
03
08
24
07
14
01
06
04
17
08
06
08
03
02
09
06
08
06
12
05
08
13
16
09
07
06
G uilford M a rk e r T e sts
1 2 3 4 5 6
SCAT
V N T T
IQ
V N GPA 1 2
V erbal
3 4
38 40 78 112 111 114 1520 27 19 19 22
30 10 40 3000 21 08 16 08
35 06 23 24 28 16 45 42 87 125 119 130
39 11 25 17 42 08 3100
35 05 17 23 15 06 27 11 38 090 088 092
2400 25 16 10 10
35 06 20 29 36 07 25 18 43 084 091 076 1917
47 18 30 09 38 20 35 41 76 127 134 119
53 07 21 21 33 11
39 02 18 22 26 05 36 30 66
53 15 43 35 41 19 2410
43 11 22 26 38 19 33 25 58 122 117 127 2825
36 10 22 29 31 13 2770
53 09 28 22 36 10 095 098 092 1921
37 10 26 19 20 09 37 18 55
49 13 24 15 34 19 20 25 45
44 01 38 07 33 17 34 33 67
25 34 59 099
104 094 2640 24 19 17 18
24 31 56 100 093 107 2650 20 12 13 17
30 21 31 22 17 23 37 22 59
17 23 40 2000 08 14 10 09
67 09 19 29 16 18
79 18 45 31 33 17
60 08 23 20 27 16 41 26 67
50 13 35 19 36 12 15 27 42
39 11 23 16 07 14 127 140 106
62 08 36 26 42 06 36 39 75 3139
18
IQ
R etest ITOC
V erbal P e rfo rm a n c e
r T V N GPA 1 2 3 4 5 6 1 2 3 4 5 6 Sex
rs 112 111 114 1520 27 19 19 22 13 16 25 22 07 33 14 07 M
10 3000 21 08 16 08 08 08 20 17 20 38 23 05 F
17 125 119 130
3100
F
M
18 090 088 092 F
2400 25 16 10 10 14 11 27 20 09 23 14 05 M
13 084 091 076 1917 F
76 127 134 119
F
F
66
2410
F
M
58 122
095
117
098
127
092
2825
2770
1921
•
M
F
F
55 F
45
F
67 F
59 099 104 094 2640 24 19 17 18 08 17 23 23 19 26 23 10 F
56 100 093 107 2650 20 12 13 17 11 11 28 23 04 20 26 08 F
59
M
40 2000 08 14 10 09 14 09 20 20 06 08 21 06 M
F
M
67 M
42
127 140 106
F
M
75 3139 F
1
j
Age in V erbal P e rfo rm a n c
ID No. F o rm Months Occ. 1 2 3 4 5 6 1 2 3 4
055 B 226 01 10 08 14 29 08 10 26 21 17 27
056 B 218 05 10 10 06 11 10 08 22 21
09 20
057 B 210 03 42 13 04 23 10 14 24 21 10 28
058 B 213 03 13 26 16 27 12 16 26 23 07 26
1
059 B 219 01 '35 38 23 22 13 18 28 26 05 24
060 B 215 07 12 15 15 16 10 09 21 20 13 26
061 B 228 04 22 30 13 24 08 11 24 19 11 33
062 A 204 05 24 17 24 28 05 18 18 23 11 26
063 A 231 01 07 11 08 08 05 11 12 18 15 36
064 A 215 05 14 08 13 11 10 10 15 23 10 25
065 B 218 02 20 24 22 22 12 11 30 21 11 30
066 B 227 03 23 14 12 07 08 07 18 20 06 19
067 B 221 01 16 19 08 16 11 10 20 17 08 28
068 B 221 04 13 11 12 08 09 08 18 23 07 14
069 B 211 05 23 18 15 23 10 12 23 20 12 28
070 B 239 05 52 45 22 13 07 11 14 20 15 28
071 A 194 05 12 17 11 24 09 21 20 14 12 33
073
l
B 226 06 10 07 04 13 08 04 19 10 10 24
074 B 220 01 16 21 08 12 05 10 22 20 12 24
075 B 201 03 13 26 16 27 12 16 26 23 07 26
076 B 218 07 25 11 08 11 12 04 19 17 07 27
077 A 20 6 04 07 09 06 07 08 07 20 18 07 36
078 B 240 02 03 05 10 05 09 03 21 20 01 22
079 B 223 03 08 04 04 07 07 08 28 18 05 22
080 A 227 05 19 26 17 41 11 23 30 25 08 33
| 081 B 227 06 16 08 03 08 08 07 22 18 06 18
' 082 A 244 05 20
1
12 17 10 12 09
26 21 12 25
T A B L E O F RAW PA T A --C ontinu
Individual T e s t of C re a tiv ity
P e rfo rm a n c e Item No.
2 3 4 5 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
21 17 27 21 04 07 03 06 02 14 13 29 05 02 01 10 26 21 17 27 21
. 21
09 20 19 11 03 07 03 07 06 04 07 02 03 05 08 22 21 09 20 19
21 10 28 14 12 16 26 06 07 04 10 13 05 02 03 14 24 21 10 28 14
23 07 26 20 09 08 05 15 11 16 17 10 06 04 02 16 26 23 07 26 20
26 05 24 15 10 22 13 16 12 23 11 11 04 05 04 18 28 26 15 24 15
20 13 26 21 06 08 04 08 07 15 11 05 03 04 03 09 21 20 13 26 21
19 11 33 11 10 12 10 17 13 13 13 11 03 03 02 11 24 19
11 33 17
23 11 26 16 11 07 17 11 06 24 22 06 02 02 01 18 13 23 11 26 16
18 15 36 14 11 04 03 04 09 07 04 04 02 02 01 11 12 18 15 36 14
23 10 25 20 10 02 12 04 04 13 04 07 02 03 05 10 15 23 10 25 20
21 11 30 17 06 11 09 17 07 22 12 10 06 03 03 11 30 22 11 30 17
20 06 19 10 06 12 11 07 07 12 03 04 04 02 02 07 18 20 06 19 10
17 08 28 06 03 10 06 12 07 08 08 08 04 02 04 10 20 17 08 28 06
23 07 14 16 12 05 08 06 05 12 04 04 05 02 02 08 18 23 07 14 16
20 12 28 26 03 15 08 10 08 15 09 14 05 02 03 12 23 20 12 28 26
20 15 28 20 11 28 24 19 26 22 14 17 03 02 02 11 14 20 15 28 20
14 12 33 20 12 07 05 10 07 11
09 15 03 02 04 21 20 14 12 33 20
10 10 24 14 08 04 06 03 04 04 06 07 03 03 02 04
19 10 10 24 14
20 12 24 18 05 11 05 10 11 08 12 12 02 02 01 10 22 20 12 24 18
23 07 26 20 09 08 05 15 11 16 17 10 06 04 02 16 26 23 07 26 20
17 07 27 23 12 11 14 08 04 08 06 05 05 03 04 04 19 17 07 27 23
18 07 36 21 18 04 03 05 04 06 03 04 02 03 03 07 20 18 07 36 21
20 01 22 15 07 01 02 02 03 10 04 01 03 04 02 03 21 20 01 22 15
18 05 22 11 05 03 05 04 04 04 02 05 02 02 03 08 28 18 05 22 11
25 08 33 21
09 06 13 12 26 17 17 24 04 05 02 23 30 25 08 33 21
18 06 18 21 06 09 07 04 04 03 04 04 02 02 04 07 22 18 06 18 21
21 12 25 26 13 09 11 06 06 12 05 05 05 03 04 09 26 21 12 25 26
nued
G uilford M a rk e r T e s ts
1 2 3 4 5 6
SCAT
N
IQ
V
Retec
17 V T T N GPA 1 2
V erbal
3 4 5 i
04 71 10 40 28 51 20 36 39 74 3200
1 11 47 06 26 23 .31 11 2130
1 15 52 14 32 32 30 11 47 35 82
) 09 63 13 28 21 43 06 44 17 61 117 117 117
} 10 54 14 36 36 35 12
L 06 51 12 21 16 23 14
7 10 65 19 32 31 37 17 47 37 84
b 11 47 12 28 21 15 10
4 11 56 13 28 23 47 08 115 119 111 2420 23 24 25 19 07 2
0 10 43 13 23 17 22 16
7 06 53 16 38 31 40 31 45 21 66 124 126 121
0 06
20 25 45 2020 15 15 08 08 08 I
6 03 52 06 22 22 34 10 112 2500
6 12 48 12 39 19 43 14
6 03 55 12 19 29 39 18
0 11 45 12 51 20 41 18 37 31 68 113 108 116
0 12 39 08 38 15 37 16
4 08 36 02 24 05 21 11 084 089 078
8 05 52 16 34 24 40 14
29 23 52
.0
09 63 13 28 21 43 06
13 12 41 13 22 16 21 11 22 32 54 31 15 10 14 11
11 18 60 08 47 15 44 10
15 07
24 18 42 2070 03 06 05 08 06
11 05 37 10 24 16 18 13
11 09 62 20 35 27 49 12 32 30 62 123 122 124 2130 28 19 25 29 11
21 06
29 20 49
17 08 04 12 10
26 13 43 40 83 114 10 12 15 13 12
ii 9
SCAT
N T T
IQ
V N GPA
R e te st ITOC
Sex 1 2
V erbal
3 4 5 6 1
P e rfo rm a n c e
2 3 4 5 6
39 74 3200 F
2130 F
35 82 F
17 61 117 117 117
F
F
J F
37 84 F
F
115 119 111 2420 23 24 25 19 07 23 16 24 11 44 23 13 F
F
21 66 124 126 121
F
25 45 2020 15 15 08 08 08 08 22 22 05 20 08 05 M
112 2500
F
F
F
31 68 113 108 116
M
* *
F
084 089 078
M
23 52
M
M
32 54 31 15 10 14 11 03 16 20 09 26 11 05 M
M
18 42
2070 03 06 05 08 06 02 22 19
02 12 15 07 F
F
30 62 123 122 124 2130 28 19 25 29 11
25 19
26 08 46 16 32 M
20 49 17 08 04 12 10 07 24 18 06 20 19 10 F
40 83 114
10 12 15 13 12
10
25 21 10 27 19 12 F
4
26
25
08
16
16
21
24
17
26
27
23
18
09
13
15
31
29
17
29
25
09
26
19
14
13
28
11
ID No. F o rm
Age in
M onths O cc.
083 A 219 04
084 B
. 219
06
085 B 231 04
086 A 230 02
087 B 218 04
088 B 213 04
089 B 213 04
090 A 227 03
091 B 230 01
092 A 216 06
093 A 225 01
094 B 219 04
095 B 225 06
096 B 215 06
097 B 227 00
098 B 224 01
099 B 220 02
100 A 236 03
101 B 216 06
102 A 227 06
103 B 227 00
104 B 213 07
105 B 220 05
106 B 225 00
107 B 224 03
108 A 227 05
109 A 221 03
1 2
V e rb a l
3 4 5 6 1
12 10 15 17 06 08 18
17 08 05 07 07 08 28
35 31 14 22 13 17 35
36 26 30 30 08 30 15
37 25 11 19 09 13 28
03 08 04 05 06 06 17
11 09 05 16 07 06 14
34 15 25 22
09 27 15
20 13 12 15 11 12 22
12 13 07 12 07 09 15
08 11 07 17 07 17 18
40 29 20 36 10 08 24
19 21 07 15 09 09 31
14 26 16 21 07 12 14
14 18 06 07 13' 08 22
11 18 03 18 10 11 23
16 21 15 37 07 12 27
19 20 15 22 08 20 21
10 14 09 23 11
09 19
19 15 08 12 05 09 12
28 22 15 19 10 15 34
14 12 03 08 06 05 23
44 19 04 20 08 06 17
32 17 15 31 06 09 13
32 34 15 25 15 20 21
15 12 08 10 10 11 15
22 18 21 28 11 17 30
5
15
18
23
23
15
10
13
13
14
15
20
12
10
08
15
06
18
09
15
18
10
15
14
09
16
22
24
T A B L E O F RAW D A T A --C ontinue<
Individual T e st of C reativ ity
6 1 2 3 4 5 6 7
Item No.
8 9 10 11 12 13 14 15 16 1
06 05 07 04 06 15 07 10 02 02 02 08 18 21 09 26 15 0
07 13 04 02 06 05 04 03 03 02 02 08 28 15 13 25 18 0
18 23 12 18 13 14 12 10 06 03 04 17 35 20 10 08 23 1
20 27 19 12 14 30 16 14 01 04 03 30 15 23 13 16 23 2
25 24 13 17 08 11 09 10 02 03 04 13 28 25 06 16 15 2
04 01 02 03 05 04 03 02 02 02 02 06 17 13 10 21 10 C
04 03 08 05 04 05 07 09 03 02 02 06 14 18 11 24 13 C
20 15 19 07 08 25 11 12 04 02 03 27 15 21 13 17 13 2
13 09 11 09 04 12 07 08 06 02 03 12 22 19 08 26 14 1
04 07 05 06 07 07 07 05 02 03 02 09 15 17 10 27 15 C
15 03 05 06 05 07 11 06 03 02 02 17 18 21 13 23 20 ]
05 16 24 23 06 20 12 24 03 03 04 08 24 20 06 18 12 C
04 10 09 13 08 07 04 11 03 04 02 09 31 21 05 09 10 (
05 08 06 11 15 16 09
12 02 02 03 12 14 13 06 13 08 (
02 08 06 10 08 06 03 04 06 03 04 08 22 18 07 15 15 c
18 05 06 11 07 03 09 09 05 02 03 11 23 15 15 31 06 ]
05 05 01 12 09 15 09
23 03 02 02 12 27 22 09 29 18 c
10 10 09 09 11 15 10 12 02 03 03 20 21 15 21 17 09 ]
04 05 05 08 06 09 09 14 03 03 05 09 19 17 12 29 15 (
07 08 11 07 08 08 06 06 01 02 02 09 12 13 13 25 18 (
06 14 14 12 10 15 10 09 03 04 03 15 34 21 10 09 10 (
02 08 06 06 06 03 07 01 02 02 02 05 23 21 07 26 15 (
05 33 11 11 08 04 10 10 03 03 02 06 17 17 07 19 14 (
02 24 08 12 05 15 14 17 02 02 02 09 13 16 06 14 09 (
07 16 16 18 16 15 11 14 06 04 05 20 21 31 06 13 16 (
15 08 07 06 06 08 07 03 04 03 03 11 15 18 07 28 22 ]
14 12 10 12 06 21 20 08 05 02 04 17 30 22
09
11 24
1
J
, TA - - Continued
G uilford M a rk e r T e sts
1 2 3 4 5 6
SCAT
V N T T
IQ
V N GPA 14 15 16 17 1 2
Ve
3
09 26 15 06 37 10 27 14 41 12 36 21 57
13 25 18 07 49 12 19 13 27 07 29 12 41
10 08 23 18 30 23 53 104 104 103 3000 43 30 16
13 16 23 20 36 18 17 19 42 16 111 105 116 2000
06 16 15 25 48 11 30 23 27 14
10 21 10 04 61 06 22 13 25 12 33 22 55
11 24 13 04 44 04 18 27 18 11 25 25 50
13 17 13 20 35 18 53 33 18 21
08 26 14 13 47 12 30 31 48 15 37 28 75
10 27 15 04 46 . 16 30 25 30 18 34 38 72
13 23 20 15 50 06 16 19 33 10 25 21 46
06 18 12 05 38 05 21 35 28 19 44 48 92
05 09 10 04 34 31 65 087 102 072 2620 21 08 1 C
06 13 08 05 54 09 22 10 41 12
29 19 48 099 099 099
07 15 15 02 24 31 65 2500 10 26 1]
15 31 06 14 71 13 37 30 36 14 43 43 86
09 29 18 09 54 11 43 08 30 14 102 102 101 2735
21 17 09 10 27 21 2!
12 29 15 04 38 06 23 04 09 07
092 096 087
13 25 18 07 13 23 36 1750 11 11 0«
10 09 10 06 35 21 56 3060 33 32 1'
07 26 15 02 46 09 29
26 26 10 33 34 67 111 120 100
07 19 14 05 38 07 26 26 28 12 30 43 73 104 101 107
06 14 09 02 32 08 14 21 33 08
06 13 16 07 57 36 93 3680 38 30 1
07 28 22 15 36 35 71 2625 14 13 0
09
11 24 14 59 13 37 14 40 10 125 115 135 2432
19
IQ
V
R e te s t ITOC
T T N GPA 1 2
V erbal
3 4 5 6 1
P e rfo rm a n c e
2 3 4 5 6 Sex
57 F
41 F
53 104
111
104
105
103
116
3000
2000
43 30 16 27 14 18 34 23 11 13 23 15 M
M
F
55 F
50 F
53
33 18 21 14
09 29
21 20 16 26 16 11 F
75 F
72 F
46 F
92 F
65 087 102 072 2620 21 08 10 21 10 12 30 20 06 18 11 04 F
48 099 099 099 F
65
2500 10 26 11 08 11 08 25 21 07
09 17 02 F
86
102 102 101 2735
F
F
27 21 25 36 09 30 21 16 16 18
09 16 F
092 096 087
F
36 1750 11 11
09 10 05 06 13 10 12 23 18 07 F
56 3060 33 32
19 18 09 12 36 22 10 20 10 03 F
67 111 120 100
F
73 104 101 107
M
M
93 3680 38 30 12 28 16 20 JO 23 06 19 14 12 F
71
125 115 135
2625
2432
14 13
09 12 10 07 16 17 08 11 22 17 M
F
-
5
12
14
20
08
19
14
13
18
08
14
20
14
10
15
08
21
15
16
22
13
11
20
26
16
12
10
18
ID No. F o rm
Age in
M onths Occ. 1 2
V e rb a l
3 4 5 6 1
110 B 225 03 17 22 12 21 09
12 23
111 A 203 ■ 04 40 39 42 49 12 29 26
112 B 217 05 13 16 05 20 08 10 19
113 A 227 00 20 20 18 18 08 10 10
114 A 209 02 27 18 05 13 07 07 20
115 B 209 07 21 17 08 23 11 11 19
116 B 226 04 17 18 10 26 06 17 24
117 B 227 01 12 20 06 17 08 12 17
118 B 212 03 22 16 08 23 07 09
23
119 B 215 04 19 17 07 25 12 09 17
120 A 225 05 14 16 05 08 09 14 12
121 A 238 02 30 20 25 33 15 17 18
122 B 213 04 09
17 05 15 07 05 16
123 B 216 04 17 25 08 18 07 11 27
124 B 217 05 76
09 06 13 08 05 12
125 A 231 05 24 14 12 09 09 08 20
126 B 229 05 26 22 08 09 06 10 29
127 A 206 05 12 07 05 06 08 08 15
128 A 225 01 43 27 22 44 09 10 24
129 A 225 01 07 06 09 22 14 06 19
130 B 207 02 11 12 08 20 10 09 22
131 A 222 02 18 09 16 17 10 16 23
132 B 229 01 46 32 17 20 13 23 19
133 B 212 04 65 35 20 37 10 11 21
134 B 211 01 07 10 02 07 07 04 13
135 B 266 04 16 21 08 07 06 12 21
136 A 192 03 10 06 04 05 05 05 17
TABLE OF RAW D A T A --C ontinued
Individual T e st of C reativity
Gui
1
nance
4 5 6 1 2 3 4 5 6 7
Item No.
8 9 10 11 12 13 14 15 16 17
19
12 11 09 08 11 11 12 12 09 03 02 04 12 23 23 09 19 12 11 35
17 14 03 24 16 19 20 42 30 19 04 04 04 29 26 28 16 17 14 03 43
40 20 18 10 03 09 07 05 08 12 03 02 03 10 19 21 14 40 20 18 42
15 08 03 10 10 10 10 18 09 09 02 02 04 10 10 22 08 15 08 03
19 19
06 16 11 08 10 05 09 04 03 03 01 07 20 17 14 19 19 06 47
35 14 05 12 09 09 08 08 10 13 06 03 02 11
19 20 17 35 14 05 34
32 13 08 10 07 12 06 10 12 14 02 02 02 17 24 21 09 32 13 08 62
38 18 05 08 04 13 07 06 05 12 04 02 02 12 17 21 10 38 18 05 38
40 08 13 10 12 07 09 08 06 17 03 02 02 09 23 23 16 40 08 13 54
33 14 08 09 10 07 10 07 16 09 06 02 04 09 17 21 14 33 14 08 47
25 20 11 06 08 07 09 05 03 05 03 02 04 14 12 20 11 25 20 11 42
16 14 22 14 16 10 10 25 17 16 05 05 05 17 18 18 10 16 14 22
28 10 05 05 03 08 09 05 09 06 01 03 02 05 16 17 07 28 10 05 41
12 15 02 09 08 12 13 08 10 08 02 02 03 11 27 19
11 12 15 02 43
26 08 08 35 41 06 03 06 09 04 03 02 03 05 12 12 08 26 08 08 41
45 21 12 13 11 09 05 12 04 05 03 03 03 08 20 22 13 45 31 12
25 15 04 13 13 13 09 08 05 04 02 02 02 10 29 21 07 25 15 04
43 16 08 05 07 03 04 05 04 02 03 02 03 08 15 11 30 43 16 08
35 22 11 20 23 12 15 22 25 19 04 02 03 10 24 19 18 35 22 11 49
25 13 09 02 05 03 03 09 11 11 03 06 05 06 19 14 14 25 13 09 44
24 11 07 04 07 06 06 08 09
11 03 05 02 09 22 22 08 24 11 07 29
! 19 20 26
09 09 06 03 16 09 08 04 03 03 16 23 22 14 19 20 26
1 17 26 10 23 23 21 11 17 09 11 05 03 05 23 19 22 09 17 26 10
> 23 16 05 37 28 19 16 20 22 15 05 02 03 11 21 21 09 23 16 05 36
L 16 12 04 04 03 06 04 02 03 04 02 03 02 04 13 20 11 16 12 04 35
5 17 10 18 10 06 10 11 08 02 05 02 02 02 12 21 20 06 17 10 18
3 23 18 10 08 02 02 04 04 04 01 02 02 01 05 17 15 13 23 18 10 5;
itinued
r*. • i r_ A V#.
SCAT
N
IQ
V
Re
16 17
u u u iu f u ivrnrRer le e iv
1 2 3 4 5 6 V T T N GPA 1 2
V erb al
3 4 5
12 11 35 17 38 40 33 18 110 097 123 2394
14 03 43 15 25 24
19 14 46 38 84
20 18 42 07 39 15
39 18 24 32 56
08 03 16 08 24 082 079 094 2040 24 20 22 29 09
19 06 47 12 45 23 40 12
\
14 05 34 08 23 24 16 18 43 26 71
*
13 08 62 12 32 36 14 11 34 41 75 120 120 120
18 05 38 05 24 24 22 13
08 13 54 13 37 25 35 18 121 114 127
14 08 47 11 35. 24 44 20 21 31 52
20 11 42 06 07 16 15 08 35 43 78 3280 22 22 06 07 07
14 22
29
48 77 3000 31 27 30 40 14
10 05 41 13 20 28 35 15 31 30 61
15 02 43 14 33 25 26 15 121
08 08 41 07 14 14 10 10
31 12 23 18 13 15 O f
15 04
16 08
22 11 49 06 38 16 28 15
099 101 096
13 09 44 08 36 23 17 13 53 27 80
11 07 29 13 28 21 35 12 112 123 101
20 26 111 105 117 2571 15 05 05 05 0
26 10 31 32 63 2172 38 32 13 19 1
16 05 36 20 17 25 35 16
12 04 35 10 20 31
19 14 21 21 42
10 18 10 13 23 10 17 07 08 C
l 18 10 52 07 28 16 41 13
19
n
IQ
V
R e te st ITOC
L
T T N GPA 1 2
V erbal
3 4 5 6 1
P e rfo rm a n c e
2 3 4 5 6 Sex
110 097 123 2394 F
84
M
56
F
24 082
\
079
094 2040 24 20 22 29 09
16 06 16 10 13 22 03 M
M
71
> F
75 120
121
120
114
120
127
F
M
M
52
F
I 78 3280 22 22 06 07 07 15 26 22 07 16 28 12 M
) 77 3000 31 27 30 40 14 26 21 23 07 11 16 18 M
) 61
121
F
F
F
23 18 13 15 08 12 20 23 08 42 21 11 M
F
F
099 101 096 F
7 80
112 123 101
F
F
111 105 117 2571 15 05 05 05 08 09 23 20 12 10 15 20 M
\Z 63 2172 38 32 13 19 12 21 26 23 06 26 24 11 M
F
51 42 F
13 23 10 17 07 08 06 10 21 22 05 17 10 13 M
F
Age in V erbal P e rfo rm a n
ID No. F o rm M onths Occ. 1 2 3 4 5 6 1 2 3 4
137 A 227 06 11 12 12 11 07 10 11 25 15 31
138 A 217 03 25 17 12 23 10 18 22 22 20 16
139 B 212 03 20 18 18 39 07 14 19
21 11 32
140 B 214 03 16 24 04 12 06 05 18 23 09 28
141 B 222 04 11 13 02 13 09 14 24 22 05 24
142 A 215 04 18 16 12 19 06 13 16 18 15 23
143 B 228 02 21 27 13 20 07 10 21 18 18 37
144 A 300 01 30 27 30 34 06 30 30 26 15 28
145 B 218 05 17 27 13 28 06 10 22 21 08 30
146 B 220 07 14 13 04 14 10 07 19 17 08 16
147 A 214 03 11 12 04 07 06 08 16 17 07 14
148 B 376 05 26 27 09 16 14 07 28 21 07 24
149 B 288 06 16 18 16 15 16 15 21 19
10 25
150 B 227 05 14 12 15 30 09 19 21 27 20 03
151 A 218 07 16 10 08 11
09 08 16 16 15 29
152 B 224 05 08 18 05 11 06 03 16 21 06 13
153 A 218 05 13 18 13 12 11 11 15 22 18 30
154 B 235 01 34 41 25 41 12 19 30 17 11 21
155 A 255 04 38 11 23 13 11 07 13 20 22 40
156 A 252 04 17 11 22 16 07 10 25 20 09 26
157 A 220 01 12 08
09
10 09
12 14 22 10 18
158 A 224 05 09 10 08 20 12 16 16 21 19
25
159
A 219 05 22 13 10 16 01 16 14 11 10 29
160 A 227 02 07 15 05 05 07 05 18 18 09 20
161 B 226 03 17 09 13 10 07 13 26 19
06 16
162 B 227 01 14 07 28 10 08 19 19 24 05 18
163 B 227 03 23 20 15 41 08 13 31 21 08 21
TABLE OF RAW D A T A --C o
Individual T e s t of C reativ ity
P e rfo rm a n c e Item No.
2 3 4 5 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
25 15 31 16 18 04 07 05 07 12 04 07 02 02 03 10 11 25 15 31
22 20 16 20 02 12 13 05 12 12 16 07 04 02 04 08 22 22 20 16
21 11 32 22 12 10 10 11 07 18 19 20 03 02 02 14 19
21 11 32
23 09 28 07 03 12 04 12 12 04 08 04 02 03 01 05 18 23 09 28
22 05 24 11 07 05 06 07 06 02 07 06 03 03 03 14 24 22 05 24
18 15 23 19 04 08 10 10 06 12 15 04 02 02 02 13 16 18 15 23
18 18 37 23 14 14 07 13 14 13 08 12 02 02 03 10 21 18 18 37
26 15 28 20 11 14 16 15 12 30 18 16 02 02 02 30 30 26 15 28
21 08 30 25 08 06 11 18 09 13 12 16 02 02 02 10 22 21 08 30
17 08 16 14 13 07 07 05 08 04 06 08 05 02 03 07 19 17 08 16
17 07 14 19 08 05 06 05 07 04 05 02 03 02 01 08 16 17 07 14
21 07 24 14 12 17 09 14 13 09 06 10 05 05 04 07 28 21 07 24
19 10 25 28 07 09
07 05 13 16 05 10 06 05 05 15 21 19 10 25
27 20 03 22 03 08 06 04 08 15 15 15 03 02 04 19 21 27 20 03
16 15 29
17 13 02 14 06 04 08 05 06 03 04 02 08 16 16 15 29
21 06 13 03 01 05 03 10 08 05 05 06 03 02 01 03 16 21 06 13
22 18 30 14 12 04 09 07 11 13 04 08 04 03 04 11 15 22 18 30
17 11 21 04 07 22 12 22 19 25 18 23 05 04 03 19 30 17 11 21
20 22 40 17 06 24 14 05 07 23 06 06 03 02 06 07 13 20 22 4C
20 09 26 18 22 11 06 06 05 22 07 09 02 03 02 10 25 20 09
2 f
22 10 18 21 12 07 05 03 05 09 08 02 04 02 03 12 14 22 10 It
21 19 25 19 06 03 06 05 05 08 12 08 04 06 02 16 16 21 19 2'
11 10 29 14 08 05 17 06 07 10 10 06 00 00 01 16 14 11 10 2<
18 09 20 23 36 05 02 05 10 05 05 00 02 03 02 05 18 18 09 2(
19 06 16 18 12 12 05 05 04 07 08 05 02 02 03 13 26 19 06 1 1
24 05 18 25 26 08 06 04 03 05 05 03 06 04 00 08 19 24 05 li
21 08 21 11 04 11 12 12 08 15 18 23 04 02 02 13 31 21 08 2
'A --C ontinued
Guilford M a rk e r
1 2 3 4
T e sts
5 6
V
SCAT
N T T
IQ
V N GPA 4 15 16 17 1 2
Vei
3
15 31 16 18 54 10 23 14 19 09
13 22 35
10 16 20 02 49 07
39 19 40 17
114 115 109
11 32 22 12 49 16 34 24 35 18
092 097 086
59 28 07 03 42 11 08 15 22 16 29 29 58
05 24 11 07 32 15 26 25 32 12 32 34 66
15 23 19 04 56 08 25 28 27 13 24 21 45 104 107 101
18 37 23 14 44 10 31 33 25 15 21 29 50
15 28 20 11 44 24 68 4000 30 27 28
08 30 25 08 38 12 24 25 15 20 19 37 56
08 16 14 13 49 13 42 20 40 17
07 14 19 08 44 10 25 14 11 10
07 24 14 12 34 26 63 34 29
13
10 25 28 07 33 38 71 13 13 15
20 03 22 03 45 08 28 19 42 12
15 29 17 13 41 13 32 16 21 11 35 36 71
06 13 03 01 32 01 16 19 12 02 22 05 27 1500
18 30 14 12 67 21 30 26 39 19
131 134 129
11 21 04 07 55 19 28 40 56 14 42 22 46 109 111 106 2514
22 40 17 06 113 108 117 2667 21 11 1”
09
26 18 22 39 32 71 2210 15 11 i:
10 18 21 12 52 12 32 17 29 16 43 46 89 135 130 139
19 25
19 06 48 13 31 13 39 14 18 36 54 106 113 098
10 29 14 08 44 12 27 27 17 14
30 42 72
09 20 23 36 56
09 26 21 28 16
18 25 43 2950
06 16 18 12 40 18 24 22 29 20
21 10 31 115
05 18 25 26 48 14 38 13 24 06
2410
08 21 11 04 67 20 27 33 28 15 32 23 55
2030
19
IQ
V
R e te st ITOC
T T N GPA 1 2
V erbal
3 4 5 6 1
P e rfo rm a n c e
2 3 4 5 6 Sex
35
114
092
115
097
109
086
F
M
F
58
M
66
• M
45 104 107 101
F
50
F
68
4000 30 27 28 36 07 30 32 28 19 25 20 11 F
56
F
M
M
63
34 29
13 15 14 10 29
23 10 26 14 13 M
71 13 13 15 13 14 14 19 20 14 20 28 05 M
M
71
M
27
131 134 129
1500
M
M
46 109
111 106 2514
M
113 108 117 2667 21 11 17 12 09 08 13 23 19 35 17 04 M
71 2210 15 11 11 11 07 09 25 23 08 20 18 18 M
89
135 130 139
M
54 106 113 098
M
72 F
43 2950 M
31 115
2410
F
M
55!
2030 M
ID No. F o rm
Age in
M onths Occ. 1 2
V erbal
3 4 5 6 1
P e rfo rm a n c e
2 3 4
164 B 219 03 29 12 09 20 08 09 23 17 08 21 1
165 B 227 01 18 18 15 27 07 07 21 23 06 15 1
166 B 226 04 35 28 15 27 07 12 26 22 13 26 1
167 B 226 04 32 26 06 30 07 12 24 20 03 16 1
168 B 221 03 18 27 12 19
11 13 26 23 10 28 J
169 B 226 04 40 26 20 29 13 12 24 22 07 23 ]
170 B 227 01 31 25 10 16 11 11 24 24 05 23
172 B 223 07 40 16 08 28 12 14 33 23 08 23
173 B 219 05 26 06 05 07 08 05 26 21 08 19
174 A 226 03 08 08 13 11 05 10 22 23 11 10
175 B 218 04 24 21 10 19 05 13 25 18 14 21
176 A 227 02 44 26 31 37 14 33 35 37 23 44
177 B 217 03 54 21 27 23 11 18 28 20 08 22
178 B 236 01 32 47 18 26 10 13 19 22 08 11
179 A 221 03 05 09 07 08 02 07 21 16 07 14
180 A 212 04 10 07 04 09 07 07 14 14 12 16
181 A 200 03 09 12 12 14 08 11 16 24 15 13
182 B 216 01
19
17 28 28 09 09 25 24 11 23
183 A 221 05 24 18 10 18 10 13 26 17 12 24
184 A 213 02 14 17 10 22 11 17 22 26 17 20
185 A 226 04 09 10 09 09 08 08 23 24 07 08
00
O'
V
A 227 04 13 11 06 07 04 07 18 20 07 23
187 B 216 02 11 13 08 23 10 15 25 27 08 19
188 B 227 05 50 30 17 23 10 13 29 23 07 28
189 B 214 05 14 10 10 28 14 12 20 22 13 23
190 A 209 05 20 15 14 23 08 21 24 18 14 13
191 A 219 02 16 15 18 18 07 22 19 30 15 27
TABLE OF RAW D A TA --C ontinued
Individual T e s t of C reativ ity
G
l&nce
4 5 6 1 2 3 4 5 6 7
Item No.
8 9 10 11 12 13 14 15 16 17 1
21 18 05 19 10 05 07 09 06 14 02 02 04 09 23 17 08 21 18 05 55
15 18 09 09 09 08 10 15 11 16 02 02 03 07 21 23 06 15 18 09 50
26 10 14 19 16 16 12 15 14 13 02 02 03 12 26 22 13 26 10 14 80
16 18 18 15 17 14 12 06 13 17 02 01 04 12 24 20 03 16 18 18 28
28 19 16 06 12 15 12 12 08 11 03 04 04 13 26 23 10 28 19 16 65
23 15 08 24 16 14 12 20 15 14 03 04 06 12 24 22 07 23 15 08 42
23 11 08 21 10 13 12 10 05 11 03 03 05 11 24 24 05 23 11 08 47
23 16 09 22 18 09 07 08 14 14 05 04 03 14 33 23 08 23 16 09 58
19 13 10 09 17 03 03 05 03 04 03 02 03 05 26 21 08 19 13 10 44
10 17 11 06 02 04 04 13 06 05 02 02 01 10 22 23 11 10 17 11 36
21 13 15 12 12 13 08 . 10 09 10 02 02 01 13 25 18 14 21 13 15 58
44 19 12 22 22 12 14 31 19 16 05 06 03 33 35 37 23 44
19 12 57
22 26 25 34 20 12 09 27 06 17 03 04 04 18 28 20 08 22 26 25 47
11 14 20 24 08 25 22 18 18 08 02 03 05 13 19 22 08 11 14 20 67
14 15 14 03 02 04 05 07 06 02 00 02 00 07 21 16 07 14 15 14 3]
16 17 04 06 04 04 03 04 05 04 03 03 01 07 14 14 12 16 17 04 4i
13 24 08 04 05 06 06 12 09 05 02 02 04 11 16 24 15 13 24 08 4«
23 21 19 12 07 08 09 28 14 14 03 03 03 09 25 24 11 23 21 19 4:
24 24 41 12 12 11 07 10 07 11 02 03 05 13 26 17 21 24 24 41 4:
20 27 10 06 08 10 07 10 12 10 04 02 05 17 22 26 17 20 27 10 5:
08 20 50 04 05 06 04 09 04 05 03 04 01 08 23 24 07 08 20 50 4i
23 22 17 06 07 06 05 06 04 03 01 01 02 17 18 20 07 23 22 17 5i
19 14 02 05 06 08 05 08 11 12 03 02 05 15 25 27 08 19 14 02 2
28 15 06 50 20 15 15 17 11 12 04 04 02 13 29 23 07 28 14 06 5
23 21 15 06 08 04 06 10 15 14 05 05 04 12 20 22 13 24 21 15 5
13 30 48 12 08 08 07 14 10 13 03 04 01 21 24 18 14 13 30 48 3
27 14 11 06 10 05 10 18 11 07 03 02 02 22 09 30 15 27 14 11 5
ed
17
G uilford M a rk e r
1 2 3 4
T e s ts
5 6
SCAT
V N T T
IQ
V N GPA
Rete
V erbal
1 2 3 4 5
05 55 10 30 25 31 09 30 20 50 124 3750
09 50 09 31 18 39 16 20 11 31 2030
14 80 17 50 26 52 16 31 18 49 123 108 138 2206
18 28 15 24 31 27 16 24 14 38 2440
16 65 17 38 28 45 18 15 14 29 099 2430
08 42 08 39 28 37 17 32 26 58 2891
•
08 47 10 37 17 41 17 28 34 62 2000
09 58 11 26 18 34 15 28 24 52 2670
10 44 08 30 00 32 08
11 36 04 18 10 29 12 12 19 31 3780
15 58 29 23 23 09 16 31 20 51 107 115
099 2440
12 57 19 28 19 34 11
19 19 38 122 2940
25 47 11 25 25 29 14 26 15 41 3100
20 67 13 43 30 50 24 2100
14 31 07 09 14 17 06 16 14 30 1950
04 44 07 25 21 29 14
08 49 18 39 33 27 19
19 43 16 45 22 42 17
41 41 10 29 17 15 13 21 13 34 2690
10 53 10 29 20 38 15 24 15 39
117 3752
50 40 06 17 20 23 10 18 20 38 102 096 108 1450
17 50 08 29 23 29 14 17 16 33 1730
02 24 13 09 24 19 06 25 18 43 3430
06 55 09 32 35 39 16 28 31 59 120 2710
15 56 15 47 32 40 18 24 18 42 2816
48 39
11 26 18 36 15 24 22 46 119 2700
11 51 10 27 24 34 18
\
19
T
IQ
T V N GPA
R e te st ITOC
Sex
V erbal
1 2 3 4 5 6
P e rfo rm a n c e
1 2 3 4 5 6
50 124 3750 F
31 2030 F
49 123 108 138 2206
•
F
38 2440 M
29 099
2430 F
58 2891
■
F
62 2000 M
52 2670 F
F
31 3780 F
51 107 115 099 2440 F
38 122 2940 F
41 3100 F
2100
M
30 1950 F
M
F
F
34 2690 F
39
117 3752
M
38 102 096 108 1450 M
33 1730 M
43 3430 F
59 120 2710 F
42 2816 M
46 119 2700 M
F
ID No. F o rm
Age in
M onths O cc. 1 2
V erb al
3 4 5 6 1
Perform anc
2 3 4
192 A 216 02 54 33 35 46 12 26 24 29 12 27
193 A 226 04 07 08 04 06 07 09 19 18 06 15
194 A 221 02 15 10 07 12 12 14 20 20 11 20
195 A 219 05 11 11 06 08 05 08 13 17 12 31
196 A 207 01 08 21 21 15 11 16 19 18 13 20
197 B 212 03 15 08 07 17 09 05 28 16 06 25
198 A 224 01 08 12 09 15 05 10 15 17 16 35
199 A 225 01 12 19 13 09 09 17 21 31 16 26
200 A 228 03 09
07 06 08 07 06 14 23 12 14
201 A 220 05 10 12 09 04 07 04 17 26 11
19
202 A 227 02 09 09 07 06 11 11 10 18 14 24
203 A 227 02 19 14 06 08 06 07 18 14 15 10
205 A 204 01 07 10 05 09 10 12 20 22 13 21
206 A 221 05 99 24 21 26 09 19 22 20 13 11
207 B 221 04 17 11 08 18 08 09 25 17 09 17
208 B 218 05 14 19 06 19 08 05 20 20 10 23
209 A 227 01 15 12 09 21 08 08 24 24 15 10
210 A 215 04 10 10 05 11 10 17 21 25 13 28
211 B 215 02 37 13 15 14 12 05 23 19 10 10
212 A 205 01 26 26 12 20 14 20 20 20 09 18
213 A 201 07 12 10 08 16 05 09 14 22 12 25
214 A 222 03 10 08 06 07 08 03 15 14 08 09
215 A 221 01 06 06 03 07 08 14 16 15 13 24
216 A 226 04 28 12 11 12 06 23 21 20 13 17
217 A 200 04 13 09 08 10 11 06 19 19
07 10
218 A 224 03 03 06 04 08 12 07 20 21 10 20
219 A 225 02 06 05 06 10 13 09 17 17 14 23
TABLE OF RAW D A T A --C ontinued
Individual T e s t o£ C reativity
form ance
3 4 -5 6 1 2 3 4 5 6 7
Item No.
8 9 10 11 12 13 14 15 16 17
L2 27 21 20 26 28 19 14 35 20 26 04 06 02 26 24 29 12 27 21 20
)6 15 19 08 04 03 03 05 04 05 01 03 02 02
09 19 18 06 15 19 08
11 20 24 22 05 10 05 05 07 08 04 04 04 04 14 20 20 11 20 24 22
12 31 19 06 06 05 06 05 06 06 02 02 02 01 08 13 17 12 31
19 06
13 20 23 11 04 04 12 09 21 09 06 05 03 03 16 19 18 13 20 23 11
06 25 19 10 09
06 04 04 07 08 09 03 04 02 05 28 16 06 25
19 10
16 35 23 14 02 06 06 06 09 07 08 02 02 01 10 15 17 16 35 23 14
16 26 24 05 06 06 07 12 13 05 04 03 02 04 17 21 31 16 26 24 05
12 14 19 15 04 05 04 03 06 04 04 04 03 00 06 14 23 12 14 19 15
11 19 17 03 04 06 06 06 09 01 03 03 02 02 04 17 26 11 19 17 03
14 24 24 06 04 05 05 04 07 05 01 03 03 05 11 10 18 14 24 24 00
15 10 15 13 11 08 06 08 06 05 03 02 03 01 07 18 14 15 10 18 13
13 21 21 08 03 04 05 05 05 05 04 03 05 02 12 20 22 13 21 21 08
13 11 26 03 93 80 12 12 21 17 09 03 03 03 19 22 20 13 11 26 03
09 17 10 10 09 08 06 04 08 08 10 04 02 02 09 25 17 09 17 10 10
10 23 24 07 08 06 10 09 06 08 11 02 01 05 05 20 20 10 23 24 07
15 10 2: 05 10 05 06 06 09 08 13 04 02 02 08 24 24 15 10 23 05
13 28 21 08 03 07 03 07 05 06 05 03 02 05 17 21 25 13 28 21 08
10 10 19 03 23 14 06 07 15 06 08 05 04 03 05 23 19 10 10 19 03
09 18 17 12 12 14 12 08 12 11
09 05 04 05 20 20 20 09 18 17 12
12 25 15 15 05 07 06 04 08 07
09 02 02 01 09 14 22 12 25 15 15
08 09 25 08 06 04 04 08 06 03 04 04 00 04 03 15 14 08 09 25 08
13 24 17 10 03 03 04 02 03 05 02 04 03 01 14 16 15 13 24 17 10
13 17 20 12 15 13 07 05 11 05 07 02 02 02 23 21 20 13 17 20 17
07 10 19 07 12 01 04 05 08 07 03 05 05 01 06 19 19 07 10 19 07
10 20 23 07 02 01 02 04 04 05 03 04 02 06 07 20 21 10 20 23 07
14 23 22 03 03 03 02 03 06 07 03 04 03 06 09 17 17 14 23 22 03
-C ontinued
Gu
1
ilfor
2
d Ms
3
irk e r
4
Tei
5
its
6 15 16 17
27 21 20 50 03 28 26 33 15
15 19 08 53 06 23 28 16 11
20 24 22 63 12 32 29 44 16
31 19 06 34 10 18 20 25 11
20 23 11 3? 08 44 15 34 13
25
19 10 46 06 29 29 43 10
* 35 23 14 55 11 27 32 34 15
26 24 05 47 07 28 27 25 15
14 19 15 47 09 23 18 34 14
19 17 03 41 08 15 24 14 10
1 24 24 00 43 09 31 25 27 10
i 10 18 13 64 13 35 25 46 16
) 21 21 08 36 05 23 09 16 14
3 11 26 03 66 19 31 17 43 10
9
17 10 10 50 14 21 27 33 18
0 23 24 07 53 14 22 14 34 13
5 10 23 05 51 18 24 20 28 14
3 28 21 08 56 10 32 18 39 15
0 10 19
03 47 09 26 19 16 09
9 18 17 12 53 13 21 24 33 17
2 25 15 15 53 05 19 12 29 10
8 09 25 08 38 12 20 21 29 16
3 24 17 10 49 08 18 20 28 12
3 17 20 17 39 08 38 17 49 18
17 10 19
07 57 02 30 27 21 17
10 20 23 07 50 13 26 30 49 11
14 23 22 03 61 09 25 22 36 18
SCAT
V N T
IQ
T V N GPA
Verbi
3
191
R e te s t ITOC
IQ
T V N GPA
V e rb a l
2 3 4
P e r fo r m a n c e
2 3 4 5 Sex
M
M
M
F
F
F
M
F
M
M
M
M
F
M
F
F
M
F
F
M
M
M
M
M
M
M
M
ID No. F o rm
Age in
M onths Occ. 1 2
V erbal
3 4 5 6 1
Perform ance
2 3 4
220 A 217 03 08 10 08 09
05 08 19
23 11 20 ;
221 A 227 04 08 10 08 07 08 08 17 20 15 08
222 B 227 03 18 16 11 22 11 11 25 20 09 20 ;
223 B 216 01 30 34 15 38 10 17 26 19 10 46
224 A 225 03 11 13 07 09 06 16 16 19 14 38
225 A 223 05 06 11 07 09 12 07 23 30 13 29 ;
226 A 226 01 12 10 16 12 09 15 23 22 14 27 ;
227 A 227 01 07 12 07 11 07 12 18 18 12 26 ;
228 A 218 01 09 13 09 09
06 07 17 17 15 14
229 A 221 04 07 16 13 11 11 12 21 20 19 24
230 A 227 02 22 16 15 17 09 17 23 25 13 14
231 A 220 05 14 09 23 28 06 21 16 29 15 20
232 B 257 00 27 23 11 15 10 08 26 19 09 25
233 A 222 02 11 15 07 08 12 13 23 22 10 15
234 A 208 02 08 12 09 09 12 18 17 17 08 23
235 A 223 04 41 16 21 25 10 11
19
24 14 20
236 A 205 04 13 11 10 07 06 06 12 24 12 17
237 A 204 05 27 09 08 09 05 10 20 18 10 20
238
1
A 209 04 09 07 07 05 12 18 21 16 09 23
| 239 A 211 04 04 07 04 02 00 06 14 18 09
13
240 A 213 04 14 14 10 16 06 13 24 14 11 17
241 A 205 05 07 06 03 08 05 08 14 14 08 29
242 B 214 04 12 09 05 15 10 08 27 23 06 11
5
21
17
21
10
18
22
23
23
25
14
13
17
18
25
20
20
08
22
17
15
20
10
14
T A B L E O F RAW D A T A --C ontinue
Individual T e s t of C reativity
6 1 2 3 4 5 6 7
Item No.
8 9 10 11 12 13 14 15 16
07 06 02 05 05 08 05 04 01 03 01 08 19 23 11 20 21
07 04 04 03 07 08 04 03 04 03 01 08 17 20 15 08 17
19 07 11 10 06 11 10 12 03 05 03 11 25 20 09 20 21
11 08 22 22 12 15 17 20 03 02 05 17 26 19 10 46 10
18 05 05 06 07 07 06 03 02 03 01 16 16 19 14 38 18
09 03 03 06 05 07 06 03 04 04 04 07 23 30 13 29 22
03 06 06 05 05 16 08 05 03 02 04 15 23 22 14 27 23
12 03 04 06 06 07 07 04 03 02 02 12 18 18 12 26 23
06 04 05 07 06 09 06 03 02 02 06 07 17 17 15 14 25
17 04 03 09 07 13 07 04 04 03 04 12 21 20 19 24 14
08 13 09 05 05 15 09 08 04 03 02 17 23 25 13 14 13
02 04 10 04 05 23 18 10 02 02 02 21 16 29 15 28 17
05 13 14 18 05 11 09 06 03 03 04 08 26 19 08 25 18
10 05 06 06 09
07 06 02 06 02 04 13 23 22 10 15 25
07 04 04 07 05 09 06 03 03 05 04 18 17 17 08 23 20
02 18 23 05 11 21 13 13 04 04 02 11 19 24 14 20 20
01 09 04 06 05 10 04 03 02 02 02 06 12 24 12 17 08
15 18 09 04 05 08 05 04 03 01 01 10 20 18 10 20 22
13 05 04 03 04 07 03 02 05 03 04 08 21 16 09 23 17
02 02 02 04 03 04 01 01 00 00 00 06 14 18 09 13 15
05 10 04 04 10 10 09 07 02 02 02 13 24 14 11 17 20
10 03 04 03 03 03 05 03 01 02 02 08 14 14 08 29 10
09 06 06 05 04 05 05 10 03 03 04 08 27 23 06 11 14
nued 1
17
G uilford M a rk e r T e s ts
1 2 3 4 5 6
43 10 24 28 39 19
37 10 14 18 35 12
30 06 32 27 38 16
56 12 29 22 31 11
73 13 26 22 43 20
49 10 21 32 22 15
55 16 29 15 41 16
59 10 45 30 42 18
49 10 22 26 33 15
49 14 30 32 37 19
44 10 40 16 29 14
46 13 22 11 23 17
36 13 30 32 47 17
41 07 30 20 31 16
67 16 24 28 22 14
38 08 29 18 54 05
47 07 22 13 22 11
57 07 35 00 26 13
43 08 25 20 37 16
47 15 20 24 26 13
39 03 27 18 28 06
42 14 31 28 37 22
SCAT
V N T
IQ
T V N GPA
R e t
V erb al
3 4
07
' 07
19
I 11
I 18
1 09
> 03
12
06
17
1 08
7 02
B 05
5 10
0 07
0 02
8 01
2 15
16
02
05
10
09
18 36 54 21 21 20 20 09
27 20 47
19
IQ
T V N GPA
R e te s t ITOC
V e rb a l
2 3 4
P e rfo rm a n c e
2 3 4 5 Sex
54
21 21 20 20 09 08 23 20 10 25 18 04
47
M
M
F
F
M
M
M
M
F
F
F
M
M
F
F
M
M
F
F
F
F
F
F
196 ]
ITO C M EANS AND STANDARD D EVIATION S O F S U B T E S T
F o r m A
...........................
F o r m B
i
S ta n d a rd S ta n d a rd
jV ariab le M ean D e v ia tio n V a ria b le M ean D e v ia tio n
V - i 1 6 .3232 13.1892 V -l 2 2 .6 0 4 0 13.4 1 5 7
V -2 1 3 .8 9 9 0 6 .2 8 6 9 V -2 18. 9703 9 .4 6 2 2
V-3 11.0 5 0 5 6 .9 3 0 2 V -3 1 1 .1 5 8 4 6 .2 9 9 0
V -4
|
1 5 .3737 9 .3 7 5 0 V -4 2 2 .0 2 9 7 10.9 5 5 8
i V-5
j
8. 2828 2. 8071 V -5 9. 1089 2 .0 7 7 2
V -6 12.6970 6 .0 7 4 4 V -6 1 0.6535
|
4. 1205 !
i
i P - l
1
1 8 .7 3 7 4 4. 3522 P - l 2 2 .4 6 5 3 4 .4 7 1 3
P -2 20. 4343 4. 6692 P - 2 19.9010 3 .0 2 6 3
P - 3 12.7071 3. 7477 P -3 9. 6634 3 .4 9 6 2
P - 4 2 1 .9 7 9 8 8. 5138 P - 4 24. 3663 7. 6427
P - 5 1 9 .0 8 0 8 3 .9 1 5 0 P - 5 15. 1881 5 .0 3 0 0
P - 6 11 .0000 8. 4423 P - 6 8. 9604 5. 2914
N = 100 N = 101
G U IL FO R D G R O U P T E S T O F C R E A T IV IT Y
M EA N S AND STANDARD DEVIATION S
F o r m A F o r m B
V a ria b le M ean
S ta n d a rd
D ev iatio n V a ria b le M ean
S ta n d a rd
D ev iatio n
1 48. 6263 9.6511 1 4 7 .1 5 8 4 11. 1611
2 1 0 .5960 3. 9821 2 11.5941 4 .8 4 6 5
3 2 7 .2 9 2 9 7 .5 1 3 3 3 2 8 .7 7 2 3 8.7 0 8 6
4 2 1 .2 3 2 3 6 .2 5 8 5 4 2 3 .7 4 2 6 8 .0 5 7 5
5 3 2 .0 9 0 9 10.4293 5 3 2 .6 4 3 6 1 0 .3 1 7 4
6 13.8081
N = 100
3 .6 6 4 4 6 14.3663
N = 101
4 .4 9 8 0
A P P E N D IX B
INDIVIDUAL T E S T O F C R E A T IV IT Y
198
I T O C
INDIVIDUAL T E S T O F C R E A T IV IT Y
A d m in is tra tio n M anual
S c o rin g G uide
R e c o rd B ooklet
by
N e w to n S . M e tf e s s e l, P h .D .
J . J . R i s s e r , E d .D .
D onald R. H. F r id le y , M. A.
1 st R e v isio n
1972
199
zooh
IN TR O D U C TIO N TO F IR S T REVISION
Since the o r ig in a l d e v e lo p m e n t of the In d ividual T e s t of
i
C r e a tiv ity , f u r th e r study and r e s e a r c h h a s gone into im p ro v in g th is I
j i
jte st. T h e se im p r o v e m e n ts have b e e n m ad e k e ep in g in m in d the o r ig i-
i
n a l in tent of its a u th o r s to d e v elo p a m e a s u r e of in te lle c tu a l p o te n tia l j
I
th a t would be f r e e of the c u ltu r a l b ia s c h a r a c t e r i s t i c of the m o re t r a - J
I
i
id ition al t e s t s of in te llig e n c e .
I 1
I The d e v e lo p m e n t of the ITO C w as b a s e d upon the S tru c tu re of j
j I n te lle c t m o d e l d e v e lo p e d by J . P . G u ilfo rd , w ith p a r t i c u l a r e m p h a s is j
j !
! p lac e d upon m e a s u r in g c r e a tiv e a b ilitie s a s id en tified by te s ts of d iv e r-
I
g e n t p ro d u c tio n . T im e w a s sp e n t d e v elo p in g ite m s and s c o rin g guides
th a t would tap th e s e d iv e r g e n t a b ilitie s . It w as fe lt by the a u th o rs of
the IT O C , b a s e d upon a v a ila b le r e s e a r c h , th a t th e s e ty p e s of ite m s
w ould p ro v id e the m o s t c u ltu ra lly f a ir a p p ro a c h to te s tin g .
S
j T h is f i r s t r e v is io n h a s b e e n b a s e d upon a study of the r e lia b il-
i
I
ity and f a c to r ia l v a lid ity of the ITO C . F o r m s A and B of the ITO C,
along w ith s e le c te d m a r k e r t e s t s d e v is e d by G u ilfo rd and h is a s s o
c ia te s , w e re a d m in is te r e d to m o r e than 200 s u b je c ts . T h e s e r e s u l ts
w e re s u b je c te d to f a c t o r i a l a n a ly s is and m a r k e r v a lid ity c o r r e la tio n s ,
d e m o n s tra tin g a s u b s ta n tiv e r e la tio n s h ip e x is te d b e tw e e n th is te s t and
the d iv e rg e n t a b ilitie s m e a s u r e d by the m a r k e r t e s t s .
A d d itio n a l s ta t is t ic a l t r e a tm e n t of the d a ta show ed th a t s u b te s t
i n te r c o r r e l a ti o n s w e re low b e tw e e n th e v e rb a l and p e r f o r m a n c e s e c tio n s
i
I
i
'of the IT O C . T h is gave s u p p o rt to the in te n t of the a u th o r s to d e v e lo p a
j
(verbal and p e r f o r m a n c e m e a s u r e of c re a tiv ity in the m a n n e r done by
i !
JW ech sler. A t a se co n d a d m in is tr a tio n , the s a m e f o rm of the ITO C wad
i
| j
ja d m in is te r e d to 41 s u b je c ts , to p ro v id e d a ta on t e s t - r e t e s t re lia b ility
(with an in te r v a l. T h e s e r e s u l ts d e m o n s tr a te d high r e lia b ility for the
:te st. T he to ta l t e s t r e lia b ility fo r F o r m B w as r = + 0 .9 1 6 , w hile the
i
c o e ffic ie n t fo r F o r m A w as r = +0. 72. S u b te st r e lia b ilitie s g e n e ra lly
! i
w e re h ig h e r fo r F o r m B th an for F o r m A. A f u r th e r a n a ly s is of th is j
(d a ta and o th e r a d d itio n a l in fo rm a tio n g a th e re d is p r e s e n te d in "A Studyj
of the F a c to r i a l V alidity and R e lia b ility of the In d ividual T e s t of C r e a -
I
tiv i ty ," u n p u b lish e d P h .D . d i s s e r ta t io n by D onald R. H. F r id le y .
j
I
| S om e in fo rm a tio n w as g a th e r e d stu dying the r e la tio n s h ip of the
ITO C to School C o lleg e A b ilitie s T e s t, g ra d e point a v e r a g e , and in te l-
j
I
■ lig e n c e t e s t d a ta th at w as a v a ila b le f o r the s u b je c ts . T h e se r e s u l ts
jgive s u p p o rt to d is c r im in a te v a lid ity . T h e r e a r e g e n e ra lly low c o r r e
l a t i o n s fo r m o s t of the ITO C s u b te s ts w ith th e s e v a r ia b le s . F o r e x a m -
i
p ie, the to ta l SC A T s c o r e c o r r e la t e d r = +0. 259 w ith the to ta l t e s t
s c o r e of the IT O C fo r 116 s u b je c ts w ith th is in fo rm a tio n a v a ila b le . Th«
g ra d e p o in t a v e r a g e s of 60 s u b je c ts c o r r e la t e d r = +0. 213 fo r the v e r
b a l s u b te s t and r = +0. 122 fo r the to ta l t e s t s c o r e . The r e s u l t of a
c o r r e la t io n ru n fo r 55 s u b je c ts b e tw e en the to ta l IQ a s m e a s u r e d by
I ~ ■
i !
[individual IQ t e s t s , and the to ta l ITOC s c o re w a s r = +0. 018. !
j T h e se r e s u l t s o ffe r a p ro m is in g fu tu re fo r the u s e of the ITO C .
An a n a ly s is of th e s e r e s u l t s , as w ell a s a d d itio n a l d a ta a v a ila b le , led
to th e follow ing r e v is io n s in the ITO C. F i r s t , two s u b te s ts w e re
1 d e le te d - - th e v e r b a l O rig in a lity and the p e rf o r m a n c e S e n s itiv ity to
I . ;
j P r o b le m s . T he f i r s t w a s e lim in a te d b e c a u s e of difficu lty in g e ttin g
'good s c o r e r a g r e e m e n t; the seco n d b e c a u s e it did n o t s e e m to c o n - i
j trib u te anything d iff e re n t to the to ta l v a ria n c e and added len g th to the |
te s t. Since a s h o r t e r t e s t m ig h t p ro v id e b e tte r s ta n d a rd iz a tio n and i
i
; t
| s u b je c t m o tiv a tio n , it w as d ro p p e d . j
It w as found in the f a c to r a n a ly s is of both F o r m s A and B that
i !
i :
! the p e r f o r m a n c e s u b te s ts O rig in a lity and P r o p e n s ity fo r E la b o ra tio n j
w e re lo ad ed on the s a m e f a c to r. The s u b te s t O rig in a lity w as a ls o
low er in r e lia b ility th a n o th e r s u b te s ts . T h e r e f o r e , th e s e s u b te s ts
w e re le n g th e n ed to im p ro v e th e ir r e lia b ility and a tte m p t to s e p a r a te
th e m f ro m the v a r ia n c e s they c o n trib u te to the to ta l t e s t p e rf o r m a n c e .
A d d itio n a l c h a n g e s w e re m a d e in the f o r m a t of the t e s t bo o k let.
T h e se c h a n g e s should fa c ilita te r e c o r d in g and p r e v e n t th e d e v e lo p m e n t
of m e n ta l s e ts b e c a u s e of th e n u m b e rin g of s p a c e s on th e r e c o r d blank.
A lso, the s c o r in g m a n u a l w as m o d ifie d and c o r r e c te d to fa c ilita te
s c o rin g . The f o r m a t in the d ire c tio n s of a d m in is tr a tio n w e re m o d ifie d
to p e r m i t g r e a t e r e a s e in a d m in is tr a tio n and s o m e s lig h t c h a n g e s in
the w o rk in g to f a c ilita te c la r ity .
INDIVIDUAL T E S T O F C R EA TIV ITY
A d m in is tr a tio n M a n u a l- - F o r m A
204
G e n e ra l I n s tr u c tio n s fo r E x a m in e r s
1. E s ta b lis h r a p p o r t w ith the s u b je c t by ta k in g tim e to e x p la in to him
th a t th is is a t e s t of c re a tiv ity in w hich he w ill be a sk e d to m ak e
d iffe re n t o r u n u su a l r e s p o n s e s to a wide v a r ie ty of q u e s tio n s .
2. H elp the s u b je c t u n d e rs ta n d how a c re a tiv ity t e s t d iff e rs f ro m
o th e r a c h ie v e m e n t o r in te llig e n c e t e s t s he m ay have tak e n w h e re
th e r e is only one c o r r e c t a n s w e r.
3. U rg e the s u b je c t to lis te n to the d ir e c tio n s c a re fu lly , but to fe e l
f r e e to give u n u su a l o r d iff e re n t r e s p o n s e s that m ay o c c u r to h im .
S t r e s s th at th e r e is no one c o r r e c t a n s w e r.
4. W atch the s u b je c t's m o tiv a tio n fo r te s t a n x ie ty and a c r i t ic a l a t t i
tude to w a rd h is r e s p o n s e s and give h im e n c o u ra g e m e n t by r e m i n d
ing h im th a t th e r e can be no w ro n g a n s w e r in a t e s t of c re a tiv ity .
5. If the s u b je c t b e g in s to show sig n s of r e s t l e s s n e s s , tak e a p a u se
b e tw e e n one of the s u b te s ts and ta lk w ith th e su b je c t o r allow
so m e o th e r r e s t ( i .e . , sm o k in g ) to p ro v id e a change of p ace.
6. M a te r ia ls to be u s e d in a d m in is te rin g th is t e s t w ill be found in the
ITO C R e c o rd B lank o r in the d ire c tio n s f o r a d m i n is t r a t o r s .
E a c h ite m is id en tified by its s u b te s t code c o rr e s p o n d in g to the
o r ig in a l p la c e m e n t by D r. R i s s e r in the ITOC ( i .e . , 1 -V -A id e n
tif ie s the f i r s t v e rb a l s u b te s t of F o r m A, 6 - P - B id e n tifie s the l a s t
p e r f o r m a n c e s u b te s t of F o r m B.
In the d ire c tio n s fo r a d m in is tr a tio n , in s tr u c tio n s th a t a r e to be
re a d to the e x a m in e e w ill a p p e a r in c a p ita l l e t t e r s .
206
F o r m A: D ire c tio n s fo r A d m in is te r in g the T e s t
1 -V -A R E D E F IN IT IO N A B IL IT Y
M a te r ia ls : D o odles A and B.
D ir e c tio n s
T u rn to doodle A and say to the su b je c t:
I W ANT YOU TO T E L L M E W HAT YOU THINK THIS DRAW
ING M IG HT B E . T H E R E IS NO ON E RIG H T ANSW ER. I
JU S T W ANT TO SE E HOW M ANY D IF F E R E N T THINGS THIS
M IG H T B E F O R YOU. FO R E X A M P L E , THIS DRAWING
M IG H T B E A SUNRISE (p au se) O R IT M IGHT B E A RO CK IN
A S T R E E T . NOW WHAT DO YOU THINK THIS M IGHT B E ?
The s u b je c t m a y tu r n the d ra w in g in any w ay he c h o o s e s , although no
in s tr u c tio n s a r e g iv en th a t he m a y do th is . If he should a s k if it is
p e r m i s s i b le fo r h im to tu rn the d ra w in g , say:
YES, YOU MAY IF YOU WISH.
R e p e a t p r o c e d u r e fo r the se co n d do o d le.
The f i r s t tim e the s u b je c t sto p s re s p o n d in g and in d ic a te s he is fin is h e d ,
say:
207
WHAT E L S E C O U LD IT B E ? HOW MANY THINGS C O U LD THIS
B E FO R YOU ?
T h is q u e s tio n is a s k e d only once and only fo r the f i r s t d o o d le .
W hen the s u b je c t in d ic a te s he h a s fin ish e d , say:
EA CH T IM E , T E L L M E W HEN YOU A R E FIN ISH ED W ITH A
Q U ESTIO N , SO W E KNOW W HEN TO GO ON TO T H E N E X T
O N E.
208
2 -V -A SENSITIVITY TO PR O BLEM S
D irections
Say to the su b je c t:
I AM GOING TO ASK YOU TO T E L L M E SOM E O F TH E P R O B
LEM S TH A T YOU M IGHT HAVE W ITH SO M ETHING . FOR
E X A M P L E . IF I SHOULD ASK YOU W HAT A R E SOM E O F TH E
P R O B L E M S YOU M IGHT HAVE W ITH A P E N C IL , YOU M IGHT
SAY TH A T YOU M IGHT JA B Y O U R S E L F W ITH TH E SH A R P
P O IN T , TH E L E A D M IG HT B R E A K , O R YOU M IG HT LOSE
TH E P E N C IL .
(1) NOW, NAM E A L L THE P R O B L E M S YOU M IGHT HAVE WITH
A BROOM .
If the s u b je c t fa ils to r e s p o n d , r e p e a t the q u e stio n .
W HAT A R E SO M E P R O B L E M S YOU M IG H T HAVE W ITH A
BROO M ?
If he s till fa ils to re s p o n d , s a y ,
W E L L , YOU M IG H T G E T A S P L IN T E R IN YOUR HAND F R O M
A W OODEN H A N D L E , OR TH E B R IS T L E S M IGHT MISS SO M E
O F T H E D IR T . NOW CAN YOU THINK O F O T H E R P R O B L E M S
TH A T YOU M IG H T HA VE W ITH A B R O O M ?
209
E n c o u ra g e the r e s p o n d e n t to a n s w e r the q u e s tio n , but once the s u b je c t
b eg in s to n a m e p r o b le m s , w ithhold c o m m e n t u n til the s u b je c t a p p e a r s
to fin is h . T hen say:
F IN E . CAN YOU THINK O F ANY O T H E R P R O B L E M S YOU
M IG H T HA VE W ITH A B R O O M ?
T h is q u e s tio n m u s t be a s k e d o n c e , but only o n ce.
W hen the s u b je c t in d ic a te s he h a s fin is h e d , say:
E A C H T IM E , T E L L M E W HEN YOU A R E FIN ISH ED WITH A
Q U E ST IO N , SO W E W IL L KNOW W H EN TO GO ON TO THE
N E X T O N E.
(2) NOW, NAM E A L L TH E P R O B L E M S YOU M IG H T HAVE WITH
COM M ON EA T IN G U T EN SILS SUCH AS A K N IF E , FO R K , OR
SPO O N .
If the su b je c t fa ils to r e s p o n d , say:
W E L L , YOU M IGHT HA VE T R O U B L E K E E P IN G YOUR PEA S
ON YOUR F O R K , OR YOUR K N IF E M IG H T NOT BE SH A R P
EN OUG H TO C U T YOUR M E A T , O R YOUR FO R K M IGHT
BE N D . NOW CA N YOU THINK O F ANY O T H E R P R O B L E M S
YOU M IG H T H A V E W ITH COM M ON EA TIN G U T E N SIL S SUCH
AS A K N IF E , FO R K , OR SPO O N ?
210
If th e su b je c t s till fa ils to re s p o n d , say:
HOW C O U LD A K N IF E , FO R K , OR SPO O N BE M A D E B E T T E R ?
The f i r s t tim e the s u b je c t s to p s re sp o n d in g a s though fin is h e d , say:
FIN E . CAN YOU TH IN K O F ANY O T H E R P R O B L E M S YOU
M IGHT H A V E ?
211
3-V -A FLU EN C Y O F THINKING
D irections
Say:
NAM E AS MANY USES AS YOU CAN F O R A M A G A ZIN E.
If the s u b je c t fa ils to re s p o n d , say:
W E L L , YOU COULD CUT P IC T U R E S O U T O F A M A G A ZIN E
F O R A S C R A P BOOK, OR YOU C O U LD USE TH E M A G A ZIN E
P A P E R TO ST A R T A F IR E . W HAT O T H E R THINGS COULD
YOU DO W ITH A M A G A Z IN E ?
The f i r s t tim e the s u b je c t s to p s a s though fin is h e d , say:
F IN E . A R E T H E R E O T H E R THINGS YOU COULD DO WITH
A M A G A Z IN E ? NAME A L L T H E USES YOU CAN.
212
4-V -A FL E X IB ILIT Y O F THINKING
D irections
Say to the su b je c t:
(1) YOU CA N DO MANY THINGS W ITH A P E N C IL . FO R
ONE TH IN G, YOU CAN W R ITE W ITH IT . T E L L M E A L L
TH E D IF F E R E N T KINDS O F U S E F U L THINGS TH A T CO ULD
B E DONE W ITH A P E N C IL .
If the s u b je c t b e g in s to n a m e s e v e r a l th in g s he could do w ith the p e n c il
but d o e s not n a m e d iff e re n t kinds of th in g s , r e p e a t the d ire c tio n s ,
e m p h a s iz in g the w o rd s " d iffe re n t k in d s. "
The f i r s t tim e the su b je c t s to p s , a s though fin is h e d , say:
A R E T H E R E O T H E R U S E F U L THINGS YOU C O U LD DO W ITH
A P E N C IL ? NAM E A L L TH E D IF F E R E N T KINDS O F THINGS
TH A T CO ULD B E DO NE W ITH A P E N C IL .
Say to the su b je c t:
YOU CAN DO M ANY THINGS W ITH A SH O ESTRIN G . FO R
O N E THING, YOU CAN USE A SH O EST R IN G TO K E E P YOUR
SHOES ON YOUR F E E T . T E L L M E A L L T H E D IF F E R E N T
213
KINDS O F U S E F U L THINGS TH A T COULD B E DONE W ITH
A SHOESTRING.
The f i r s t tim e the s u b je c t s to p s , a s though fin is h e d , say:
A R E T H E R E O T H E R THINGS YOU COULD DO W ITH A
SH O EST R IN G ? NA M E A L L TH E D IF F E R E N T KINDS O F
U S E FU L THINGS TH A T C O U LD B E DONE W ITH A
SHOESTRING.
214
6 -V -A PR O PEN SITY F O R ELABORATION
D irec tio n s
Say:
P R E T E N D YOU W E R E ASKED TO P L A N A PR O G R A M TO
M A K E M ON EY TO BU ILD A PLA Y G R O U N D . YOU KNOW A
M AN WHO IS A VERY GOOD SIN G E R , AND H E SAYS TH A T H E
W IL L SING A T TH E SHOW F R E E . W HAT O T H E R PLA N S W IL L
YOU HAVE TO M AKE ? T E L L M E A L L T H E THINGS TH A T
YOU W OULD N E E D TO DO.
If the s u b je c t fa ils to re s p o n d , say:
W E L L , YOU W OULD HAVE TO P L A N W H ER E TO HA VE TH E
SHOW AND HOW M UCH M ONEY YOU W OULD CHARGE F O R
T H E SHOW. W HAT O T H E R PL A N S W OULD YOU HA VE TO
M A K E ?
The f i r s t tim e the s u b je c t s to p s and in d ic a te s th at he h as fin is h e d , say:
IS T H E R E ANYTHING E L S E ?
It is im p o r ta n t to a s k th is q u e s tio n o n c e , but only o n c e , and give no
f u r t h e r e n c o u ra g e m e n t.
215
1 - P -A REDEFINITION ABILITY
M a te r ia ls : A n im al p ic tu re
D ire c tio n s
T u rn to the a n im a l p ic tu r e and say to the subject:
SHOW M E A L L T H E ANIM ALS YOU CAN FIN D IN THIS
P IC T U R E .
The s u b je c t m ay tu rn th e d raw in g in any w ay he c h o o s e s although no
in s tr u c tio n s a r e given th a t he m ay do th is . If he should a s k if it is
p e r m i s s i b le fo r h im to tu r n the p ic tu r e , say:
YES, YOU MAY IF YOU WISH.
If the su b je c t fa ils to re s p o n d , say:
W E L L , H E R E IS A FISH. CAN YOU FIN D O T H E R A N IM A L S?
If you have tro u b le s e e in g the a n im a l the s u b je c t id e n tifie s , h av e him
point it o u t w ith the end of a p e n c il.
216
3 - P - A FLU EN C Y OF THINKING
D irections
Be s u r e the s u b je c t u n d e r s ta n d s the d ire c tio n s b e fo re tim in g b e g in s.
E m p h a s iz e th a t d ra w in g a b ility is not im p o rta n t.
O pen the r e c o r d b o o k le t to the F lu en cy P e r f o r m a n c e t e s t and say:
NOW I W ANT TO S E E HOW MANY R E C O G N IZ A B L E THINGS
YOU CAN DRAW IN FO U R M IN UTES. EA CH DRAW ING M UST
HAVE A C IR C L E IN IT. YOU MAY ADD ANY O T H E R LINES
YOU N E ED TO. DRAW ING A B IL ITY IS NOT IM P O R T A N T .
I AM JU ST IN T E R E S T E D IN HOW MANY R E C O G N IZ A B L E
THINGS YOU CAN DRAW . YOU HAVE ONLY F O U R M IN U TES.
R E M E M B E R , E A C H DRAW ING M UST HAVE A C IR C L E .
If the su b je c t s to p s a s though fin ish e d b e fo re the fo u r m in u te s a r e up,
say:
DRAW AS MANY R E C O G N IZ A B L E THINGS AS YOU CAN
USING A C IR C L E . GO A H EAD .
If th e r e is any doubt on y o u r p a r t about w hat the s u b je c t h a s d ra w n a fte r
the tim e lim it h as e x p ir e d , a s k the su b je c t to id en tify w hat he h a s
d ra w n . He should th en w rite the n a m e on e a c h d ra w in g .
217
4 - P - A FLEX IBILITY OF THINKING
D irections
O pen the r e c o r d boo k let to the F le x ib ility p e r f o r m a n c e t e s t and say:
AGAIN I W ANT YOU TO DRAW SO M ETH IN G R E C O G N IZ A B L E .
YOU MAY USE T H E SE FIG U R E S, B U T ONLY T H E SE FIG U R E S,
TO M AK E YOUR DRAWINGS. THIS TIM E YOU MAY NOT ADD
ANY E X T R A LIN ES. YOU MAY USE ANY O F TH E FIGU RES
AS MANY TIM ES AS YOU WISH. YOU MAY USE TH EM IN
ANY WAY AND IN ANY PO SIT IO N . YOU MAY CHANGE
T H E IR SIZES BU T NOT T H E IR SH A PE S . R E M E M B E R , YOU
M AY NOT ADD ANY E X T R A LIN ES. YOU MAY M AKE ONE
DRAW ING OR MANY. YOU W IL L H A V E FIV E M IN UTES TO
M A K E YOUR DRAWINGS.
M ake s u re the s u b je c t u n d e rs ta n d s the d ire c tio n s b e fo re the tim in g
b e g in s .
If he should b eg in to add e x tr a lin e s , r e m in d h im by saying:
R E M E M B E R , YOU A R E NOT TO ADD ANY E X T R A LINES.
YOU A R E TO USE ONLY T H E S E F IG U R E S TO M A K E YOUR
DRAW INGS.
If th e r e is any doubt on y o u r p a r t a b o u t w hat the s u b je c t h a s d ra w n a fte r
the tim e lim it h a s e x p ir e d , a sk the s u b je c t to iden tify w hat he h as
d raw n . H e should then w r ite the n a m e on e a c h d ra w in g .
219
5 - P - A ORIGINALITY
D irectio n s
O pen the r e c o r d b o o k le t to the O rig in a lity p e r f o r m a n c e te s t and say:
IF I TOLD YOU TH A T I WAS GOING TO DO SO M E TH IN G LIKE
W ALK H O M E , HOW C O U LD YOU SAY TH E SA M E THING BY
DRAW ING ON A P IE C E O F P A P E R . W E L L , O N E WAY WOULD
B E LIK E THIS (show s a m p le r e s p o n s e in r e c o r d booklet).
H E R E A R E SO M E M O R E THINGS TH A T P E O P L E CAN DO,
AND I W ANT YOU TO SAY TH E SAM E THINGS BY DRAWING
IN TH E SQ UA RES ON THIS P IE C E O F P A P E R . TH E ONLY
THINGS YOU MAY NOT DO IS TO DRAW P E O P L E DOING
T H E THINGS, OR USE L E T T E R S OR NU M BERS.
If the s u b je c t sh o u ld d r a w a p e rs o n , o r u s e n u m b e r s o r l e t t e r s , say:
R E M E M B E R , YOU SHOULD NOT DRAW P E O P L E DOING TH E
THINGS OR USE L E T T E R S OR NUM BERS.
T h is r e m in d e r is g iv en only o n ce.
220
6 - P - A PR O PEN SITY F O R ELABORATION
M a te r ia ls : S tim u lu s S h eets A, B, and C.
D ir e c tio n s
1. T u rn to s tim u lu s s h e e t A in the r e c o r d b o o k let and say:
THIS IS TH E BEGINNING O F A DRAW ING. IT CO ULD B E A
DRAW ING O F A LM O ST A N Y TH ING. W HAT I W OULD LIK E
YOU TO DO IS FINISH TH E DRAW ING. T H E R E IS NO ONE
R IG H T DRAWING. YOU MAY DRAW AN YTH ING YOU L IK E .
P L E A S E M A K E YOUR DRAW ING AS C O M P L E T E AS P O S S IB L E .
If the s u b je c t h e s ita te s , e n c o u ra g e h im by saying:
YOU MAY DRAW ANYTHING YOU L IK E .
If th e s u b je c t s till s e e m s u n a b le to r e s p o n d , say:
W E L L , THIS M IG HT B E W A T E R . YOU M IGHT ADD LIN ES
L IK E THIS ( illu s tra te ) TO SHOW W A T E R OR YOU M IGHT
E V E N ADD A BO A T. (Do n o t d r a w the boat. )
P r e s e n t the o th e r s tim u lu s s h e e t w ith the in s tr u c tio n s :
NOW CAN YOU FINISH THIS D R A W IN G ? DRAW ANYTHING
YOU L IK E .
221
2. W hen the s u b je c t in d ic a te s he h a s fin ish e d h is d ra w in g (If you have
had to u s e s tim u lu s s h e e t B in th e f i r s t a tte m p t, tu r n to s tim u lu s s h e e t
C fo r the second r e s p o n s e ) , say to the su b ject:
T U R N TH E P A G E AND YOU W IL L SE E T H E BEGINNIN G O F
A N O T H E R DRAW ING. IT COULD B E A DRAWING O F
A L M O ST A N YTH ING. AGAIN, I W OULD LIK E YOU TO
FINISH TH E DRAW ING. T H E R E IS NO ON E RIG H T DRAWING.
YOU MAY DRAW A N YTH ING YOU L IK E . P L E A S E M AKE
YOUR DRAW ING AS C O M P L E T E AS PO S S IB L E .
INDIVIDUAL T E S T O F C R E A T IV IT Y
S c o rin g G u i d e - - F o r m A
........................... ' 223
F o r m A: D ir e c tio n s fo r S c o rin g the T e s t
A t e s t of c re a tiv ity m ay be e x p e cte d to p r e s e n t so m e new , s u r
p r is in g , and in trig u in g t a s k s . W hile th e s e ta s k s m ay be b e w ild e rin g
to so m e s u b je c ts , they w ill be c h a lle n g in g to o th e r s . The s c o rin g fo r a
t e s t of c r e a tiv ity a ls o p r e s e n ts c e r t a i n p e rp le x itie s . No s c o rin g guide
fo r a c re a tiv ity t e s t can be a b s o lu te ly d e fin itiv e a s it is im p o s s ib le to
a n tic ip a te a ll c r e a tiv e r e s p o n s e s . T h e re a r e no sp e c ific , e x c lu s iv e ,
and e x h a u stiv e rig h t a n s w e r s - - o n l y a p p r o p r ia te o n e s . T his s c o rin g
g u id e, th e n , is p r im a r ily a m a n u a l of s c o rin g p r in c ip le s . M any e x a m
p le s a r e in clu d ed to ill u s tr a t e the p r in c ip le s involved. O nce the p r i n
c ip le s a r e g r a s p e d , the s c o rin g b e c o m e s re la tiv e ly sim p le and r e lia b le .
1-V -A R E D E F IN IT IO N A B IL IT Y
One p oint is given f o r e a c h r e s p o n s e . If the su b je c t should give
a r e s p o n s e th a t is u n f a m ilia r , a s k the s u b je c t to show o r e x p la in how
he h a s s e e n the o b je c t th a t he h a s n a m e d . T he wide v a ria tio n of th e
o b je c ts th a t h av e b een id en tified m a y be se e n f ro m the s a m p le of
r e s p o n s e s lis te d below (se e d o o d les A and B in E x a m in e r 's M a te r ia ls ) :
D oodle A: 1. A nt h ill
2. A rc h w a y
3. A sh t r a y a tta c h e d to a w all
4. B ake A la s k a
5. B ald m a n sinking in q u ick sand
6. B a ll flo a tin g in w a te r
7. B a s k e tb a ll hoop s e e n f ro m above
8. B e e h iv e
9. Bow l w ith a p late on top
224
10. Bow l u p sid e down on p la te
11. B rid g e a r c h
12. B ubble of p l a s t e r / w a t e r
13. C at g lo w e rin g th ro u g h lo w e re d lids
14. C eilin g lig h t
15. C oin stu c k in the sand
16. C r o s s s e c tio n of g u illo tin e
17. C r o s s s e c tio n of s t r e a m and gro u n d lev e l
18. D oor b ell
19. D oor stop
20. D om e of o b s e r v a t o r y / p a v i l io n / s ta d iu m
21. D ro p candy on a b o a rd
22. D ro p of w a te r a b o u t to d r ip f r o m fa u c e t
23. F a t m a n in telep h o n e booth
24. F o o tlig h t
25. F r ie d egg
26. F r in g e on a s k ir t
27. H alf g r a p e f r u it/o r a n g e on a p late
28. H alo
29. H andle on a s u itc a s e
30. H at
31. H ill in the d ista n c e
32. Ice c r e a m on a plate
33. Igloo
34. Inch w o rm
35. I r r ig a tio n ditch
36. L e tte r D / P
37. L ig h t on an in s tr u m e n t p a n e l
38. L oop on the b ack of a d r e s s
39.
M a g n et
40. M an (bald) w alking on o th e r s id e of fe n c e
41. M an co m in g out of m an h o le
42. M a rb le stu c k h a lf way in c e m e n t
43. M oon se ttin g on lake
44. M o u se h ole in w all
45. 180 d e g re e g e o m e tric sy m b o l
46. P e r s o n /m a n /w o m a n b ending o v e r,
s e e n f ro m behind
47. P r e g n a n t lady com ing a ro u n d th e c o r n e r
48. Skill saw blade stic k in g th ro u g h wood
49.
Snake th a t h a s j u s t sw allo w ed so m e th in g
50. S nail
51. Soap bubble on w a te r
52. S to m a c h of fa t p e r s o n b eh in d w all
53. Sun c o m in g o v e r w all
225
D oodle B:
54. Sun d ia l
55. Sun peeking o v e r cloud
56. S u n se t
57. Sw ord handle
58. T ail lig h t on a c a r
59. T e e t e r - t o t t e r
60. T ire w ell
61. Tongue stic k in g out of w ide m o u th
62. T unnel
63. T u rtle
64. W a r t/p im p le /b u m p on skin s e e n
u n d e r m ag n ify in g g la s s
1. A c o u s tic a l tile
2. A m oebe
3. A ir b u b b les r is in g to s u r f a c e of w a te r
4. B u m p s on a m e ta l p late
5. B u r n e r s on a stove
6. B utton ho les
7. C a r w ith four h e a d lig h ts , tu rn in g
8. C a r s / p l a n e s / b i r d s / b l i m p s / a i r s h i p s / t a n k s
in fo rm a tio n
9. C louds and h o riz o n
10. C o b b le sto n e s b e s id e fence
11. C o o k ie s on cookie s h e e t
12. D ents in m e ta l
13. D ia g ra m of a dan ce s te p
14. F is h sw im m in g n e a r s u rf a c e of w a te r
15. F ly in g s a u c e r s
16. F o o tp rin ts
17. F r ie d egg on a g rid d le
18. G ir a f f e 's n e c k
19. H o le s in s h e e t m e t a l / g r o u n d / t r e e tru n k
20. In n er tu b es on a lake
21. In su la tin g b o a rd
22. Isla n d s in a lake
23. J e lly b e a n s
24. K n otholes in a t r e e / b o a r d
25. Knotty pine
26. L ace
27. L a k e s
28. L e o p a r d 's b a c k
29. L ight fix tu re in c eilin g
30. P a n c a k e s on a g rid d le
226
31. P a r a m e c i u m
32. P e n n ie s bou n cin g up a fte r so m e o n e
h a s pounded on the tab le
33. P l a n a r i a , sq u a sh e d
34. P o lk a d o t m a t e r i a l
35. Skin p o r e s s e e n th ro u g h m ag n ify in g g la s s
36. Snake h o le s
37. S pace s h ip s
38. S p la tte r s of p a in t
39. S tep p in g s to n e s
40. S to n es in a pond
41. S w iss c h e e s e
42. S u rfa c e of th e m oon
43. T id d ly -w in k s
44. Toy (put p eg s in the holes)
45. Two p eo p le on o th e r side of so fa
blow ing sm o k e rin g s
46. T r a c k s in snow (elep h an t, b e a r , a b o m in a b le
snow m an )
47. T u fts on c h e n ille b e d s p re a d
2 -V -A SEN SITIV IT Y TO PR O B L E M S
One point is g iven fo r e a c h a p p r o p r ia te r e s o n s e . The only d if
fic u lty lik e ly to be e n c o u n te re d in s c o rin g th is s u b te s t is in d e c id in g
w hen th e r e a r e d u p lic a tio n s of r e s p o n s e s . A r e s p o n s e is c o n s id e r e d a
d u p lic a te w hen the p ro b le m id e n tifie d is the s a m e a s p re v io u s ly s ta te d
but d e s c r ib e d by d iffe re n t a d je c tiv e s . A s a m p le of a p p r o p r ia te
r e s p o n s e s and e x a m p le s sho w ing d u p lic a tio n s of r e s p o n s e s a r e lis te d
below :
B ro o m : 1. I m ay g et t i r e d u s in g the b ro o m .
2. M ay lo se b ro o m .
3. B ro o m m ay n o t fit in c lo s e t.
4. B ro o m m ay n o t s ta n d u p r ig h t/k e e p fallin g down.
(D uplicate: T he b r o o m k e e p s falling. )
5. B ro o m m a y be too h eav y
227
6. B ro o m m a y be too e x p e n siv e to r e p la c e .
7. M ay t r i p o v e r b ro o m
(D u p licate: Slip on it. )
8. M ay not have a d e q u ate te c h n iq u e .
(D u p licate: L e a v e d u st. )
9. T he s u rf a c e to be sw e p t m ay be w et.
10. I m a y f o rg e t to put b a c k b r o o m and g e t sp a n k ed .
11. C a r r y in g it ho m e fro m s t o r e - - i t 's a w k w ard .
12. F in d in g su ita b le p lace to k e e p b ro o m .
13. B r i s t l e s ( s tr a w s ) m ay b r e a k .
14. B r i s t l e s ( s tr a w s ) m ay fa ll out.
15. B r i s t l e s ( s tr a w s ) m ay w e a r down.
16. B r i s t l e s ( s tr a w s ) m ay w e a r u n e v e n ly .
17. B r i s t l e s ( s tr a w s ) m ay be too s h o rt.
18. B r i s t l e s ( s tr a w s ) m ay be too long.
19. B r i s t l e s ( s tr a w s ) m ay be too fle x ib le .
20. B r i s t l e s ( s tr a w s ) m ay be too stiff.
21. B r i s t l e s ( s tr a w s ) m ay g e t w et.
(D u p lic a te s: B r i s t l e s ( s tr a w s ) m ay g e t m uddy.
B r i s t l e s ( s tr a w s ) m ay g e t stick y .
B r i s t l e s ( s tr a w s ) m ay g e t d irty . )
22. B r i s t l e s ( s tr a w s ) m ay g e t bent.
23. B r i s t l e s ( s tr a w s ) m ay n o t p ick up and c o n tain d irt.
24. B r i s t l e s ( s tr a w s ) m ay s c a t t e r d irt.
25. B r i s t l e s ( s tr a w s ) m ay n o t g e t into c o r n e r s .
26. B r i s t l e s ( s tr a w s ) m ay n o t g e t into s m a ll p la c e s .
27. B r i s t l e s ( s tr a w s ) m ay n o t be sh a p ed rig h t to g et
u n d e r p la c e s .
28. B r i s t l e s ( s tr a w s ) m ay n o t be sh a p ed rig h t to g et
into c o r n e r s .
29. B r i s t l e s ( s tr a w s ) m ay be too c o a r s e fo r fine d u st.
30. B r i s t l e s ( s tr a w s ) m ay c a tc h f ir e (Q) sw eeping h o t
a s h e s into f ir e p la c e .
31. H an d le m a y b r e a k .
(D u p lic a te s: H andle m a y s p lit; H andle m ay c ra c k . )
32. H an d le m a y g e t lo st.
33. H an d le m a y y ie ld s p lin te r s .
34. H an d le m a y w a rp .
35. H an d le m a y be too long.
36. H an d le m a y be too s h o rt.
37. H a n d le m a y k n ock th in g s o v e r.
38. H a n d le m a y g e t c a u g h t in d o o r.
39. P a i n t m ay chip off h a n d le .
E a tin g
U te n sils:
228
1. H a n d le s m a y bend.
2. T in e s m a y bend.
3. P l a s t i c u te n s ils m ay m e lt.
4. T hey m a y b re a k .
(D u p lic a te : They m ay be w ooden o r p la s tic . )
5. The h a n d le s m ay com e off the k n iv e s .
(D u p lic a te : The blade m ay fall off. )
6. T hey m a y be d ir ty , and th is m a k e s fo r an aw kw ard
s itu a tio n .
7. I h av e to w a sh th e m .
8. They m ay d ro p on the flo o r.
9. They m a y t a r n i s h .
10. S ilv e r m a y com e off.
11. M o th e r m a k e s m e p o lish th em .
12. Knife m a y not be s h a r p enough to c u t m e a t.
13. Knife m ay be too s h a rp .
(D u p lic a te s: T hey cut lin e s on M e lm a c p late .
T hey cut lin e s on p la s tic p late .
T hey m a k e lin e s on M e lm a c p late .
T hey m a k e lin e s on p la s tic p la te . )
14. Knife m a y be too s h a rp .
(D u p lic a te : S teak knife m ay s lip and cut you. )
15. M ay s lip o u t of h a n d s and be e m b a r r a s s i n g .
16. M ay h av e tro u b le holding in h a n d s p r o p e r ly .
17. M ay n o t know w h ich u te n s il to u s e .
18. H olding m e a t w ith fo rk w hile cu ttin g w ith knife.
19. M ay h u r t you.
(D u p lic a te : M ay ja b s e lf in c h e e k w ith fo rk . )
20. We do n o t have enough u te n s ils to go a ro u n d .
21. T hey c o s t a lot of m o n ey .
22. M ay lo se th e m .
23. T hey m a y go dow n the g a rb a g e d is p o s a l.
24. T hey a r e not e ffic ie n t.
(D u p lic a te : F o r k d o e s n 't p ick up p e a s w ell. )
25. Spoon is too s m a ll.
(D u p lic a te : Spoon d o e s n 't hold enough s o u p .)
26. Spoon m a y be too la rg e .
(D u p lic a te : Spoon m ay be too la r g e fo r baby. )
27. I m a y f o r g e t to b rin g in the knife a f t e r w eeding the law n.
S c o rin g E x a m p le s
The b r i s t l e s m a y co m e out; the b ro o m m ay w e a r out 1 point
229
T he shiny stuff m ay ch ip off the knife; the shiny stuff
m ay chip off the sp o o n , the shiny stuff m ay chip
off the f o r k ....................................................................................................... 1 point
The h an d le of the spoon m a y bend; the tin e s of the fo rk
m ay b e c o m e uneven; the knife m ay g et n ic k s in the
b l a d e .................................................................................................................... 3 points
3 -V -A F L U E N C Y O F THINKING
In th is t e s t of flu e n c y , the q u a lity of the a n s w e r is n o t c o n s id
e r e d in the s c o rin g . One p o in t is g iven fo r e a c h a p p ro p r ia te r e s p o n s e ,
e v e n though th e r e s p o n s e s m a y be s im i la r . T his s u b te s t r e q u i r e s the
s u b je c t to n a m e u s e s fo r a m a g a z in e .
It is n o t u n c o m m o n fo r the s u b je c t to n am e a g e n e r a l c l a s s i f i c a
tio n su ch a s " a s o u rc e of in fo rm a tio n " and th en p ro c e e d to id en tify s e v
e r a l s p e c ific kin d s of in fo rm a tio n that he m ig h t ob tain f r o m the m a g a
z in e . In su ch in s ta n c e s , c r e d i t is g iven fo r e a c h d iffe re n t s o u rc e of
in fo rm a tio n given. C r e d it is not g iv en fo r n a m in g the g e n e r a l c la s s ,
"a s o u rc e of in fo rm a tio n , " w hen c r e d it i£^ g iven fo r the s p e c ific kinds
of in fo rm a tio n , as th is is c o n s id e r e d a d u p lic a tio n of r e s p o n s e r a t h e r
th an an a d d itio n a l r e s p o n s e . If j u s t the g e n e ra l c a te g o ry , " a s o u rc e of
in fo rm a tio n , " is s p e c ifie d , one p oint of c r e d it is a s s ig n e d fo r it.
A s a m p le of r e s p o n s e s fo r w hich c r e d i t h as b e e n a s s ig n e d is
g iven below . The g e n e r a l c la s s if ic a tio n s a r e in c a p ita l l e t t e r s . T h e se
m a y be c o n s id e re d d u p lic a tio n s of the m o r e s p e c ific r e s p o n s e s lis te d in
s m a ll l e t t e r s b e n e a th th e m .
230
U s e s fo r a
m a g a z in e : 1. BU RN IT FO R H EA T
2. USE IT TO ST A R T A F IR E
3. SO URCE O F E N JO Y M E N T
4. R ead it fo r p le a s u r e
5. Look a t c a rto o n s
6. U se it to p a s s aw ay the tim e
7. Look a t the p ic tu r e s
8. SO U RC E O F IN FO R M A T IO N
9. R e c ip e s fo r m e a ls
10. H om e d e c o ra tio n id e a s
11. H om e planning
12. F a s h io n id e a s
13. A d v e rtis e d p ro d u c ts
14. P o litic a l is s u e s
15. E c o n o m ic and fin a n c ia l m a t t e r s
16. E d ito r ia l opinion
17. S ty le s of w ritin g
18. F o r book r e p o r t o r sch o o l a s s ig n m e n t
19. C U T O U T /C O L L E C T P IC T U R E S
20. C U T O U T /C O L L E C T CA RTO ON S
21. C U T O U T /C O L L E C T PO E M S
22. M A K E A S C R A P BOOK
23. S E L L IT
24. T R A D E IT
25. M AK E P A P E R M ACHE
26. M A K E P A P E R DO LLS
27. P A P E R TH E W ALLS
28. USE FO R INSU LATIO N
29. P la c e b e tw e en sle e p in g bag and g ro u n d
30. PA CK IN G M A T E R IA L
31. S P IT WADS
32. H IT OR S T R IK E AN A N IM A L
33. Spank a child.
34. H it the dog
(D uplicate: H it th e cat)
35. Sw at a fly
(D uplicate: Sw at a m o sq u ito )
36. A D V E R T ISE MY PR O D U C T
37. L I F T P R IN T E D WORDS TO SEN D K ID N A P M ESSA GE
38. P R O P U P OR B A L A N C E F U R N IT U R E
39. P u t u n d e r leg of ta b le so it w o n 't ro c k
40. P u t u n d e r leg of c h e s t of d r a w e r s
231
41. PR E S S B U T T E R F L IE S
42. P R O T E C T SU R FA C E
43. P u t on flo o r j u s t in sid e d o o r in r a in y w e a th e r
44. P u t on c h a ir w hen m y p a n ts a r e d irty
45. P u t on flo o r to c a tc h p ain t d rip s
46. T E S T S T R E N G T H --S E E IF YOU CAN T E A R IT
IN TWO
47. PA D TO P R O V ID E F IR M S U R F A C E TO W R ITE ON
48. PO LISH C A R WINDOWS
49. W EIG H T T O H O LD SO M ETH IN G DOWN, LIK E A
D R O P C L O T H
50. D O O R -S T O P , P R O P U N D ER DOOR TO K E E P IT
F R O M BLOW ING C L O SED
S c o rin g E x a m p le s
C u t out p ic tu r e s fo r s c r a p book, cut out p ic tu r e s to p a s te on
w all; m ake a c o lle c tio n of the m a g a z in e c o v e rs ; m a k e a
c o lle c tio n of the jo k e s f ro m the m a g a z in e ; d r a w o r e la b o
r a t e on the p ic tu r e s in m a g a z i n e 5 points
S o u rc e of in fo rm a tio n ; g e t id e a s for re d u c in g m e a ls ; g e t id ea s
fo r bathing s u its ; l e a r n about p o litic a l m a t te r s ; r e a d
n o v e l s ....................................................................................................................4 points
4 -V -A F L E X IB IL IT Y O F THINKING
In F le x ib ility of T hin k in g , p o in ts only a r e a s s ig n e d fo r the
n u m b e r of d iffe re n t kin d s of u s e s sp e c ifie d . T h e se d iffe re n t kinds of
m a jo r c la s s if ic a tio n s a r e show n in c a p ita l l e t t e r s in the e x a m p le
below , w ith th o s e c o n s id e r e d to be in a s im i la r c la s s lis te d in s m a ll
l e t t e r s .
U s e s fo r
a p en cil: 1. A P P L IC A T O R
S p re a d g lue
S p re a d p a s te
S p re a d p a in t
232
2. BURN AS K IND LING
S ta rt a f ir e
3. CARBON E L E C T R O D E
M ake a b a tte r y
4. CLEA N IN G TO O L
C lean fin g e r n a ils
C le a n e a r s
C le a n g ro o v e in the h ead of a s c re w
5. C O L L A G E M A T E R IA L
6. CR EA SE P A P E R
7. CUT
R ip le a th e r s e a ts
D e c a p ita te a fly
8. DRAW
P a in t
Sketch
D oodle
Shade
B lo t out
C r o s s o u t w ith it
9. DIAL T E L E P H O N E
10. DIG W EEDS
11. ER A SE
12. FR A M EW O R K
F r a m e w o r k fo r s c u lp tu re
F r a m e w o r k fo r c o n s tru c tio n p ro b le m
S u p p o rt fo r s m a ll flo w e r
13. GUIDE
U se a s s tr a ig h t edge
14. LINE EY ES
E y e b ro w p e n c il
15. LU B R IC A N T
G rin d up le a d fo r g ra p h ite
16. M AKE H O LES
P u n c h h o le s in p a p e r
P u n c tu re b a llo o n
17. M OVE
M ove a bug I d o n 't w ish to touch
18. P E G /D O W E L
19. PIC K A LO CK
20. P IN /IM P A L E
P in note on b e a v e r b o a rd
A ttac h a n i n s e c t to b u lle tin b o a rd w hen you d o n 't
h ave a pin
U s e s fo r
sh o e la c e:
21. P O IN T E R
22. P L U G
23. SC R A T C H
S c r a tc h e a r s , b a c k , h ead
24. P R Y
25. R A T HAIR
26. R E A C H INTO SO M ETH IN G
G et in s m a ll sp a ce
G et glue out of bottle
27. R E L IE V E TENSION
C hew on it to r e lie v e te n s io n
28. R O L L C L A Y F L A T
29. M AK E SHAVINGS F O R IN SU LATIO N
30. M A K E SHAVINGS FO R NEST
31. M A K E SHAVINGS FO R L IT T E R
32. ST IR
S tir p ain t
S tir m ilk shake
33. M A K E T O O TH PIC K S
34. M AK E TOY F L A G P O L E
35. M A K E TOY M AST
36. M AK E TOY A X L E
37. U N P L U G
U nplug pipe
U nplug tubing
U nplug BB gun
38. W E A P O N
S tab so m e o n e
U se a s a r r o w in s m a ll bow
A p r o je c tile
1. BO OK M ARK
2. B U N D L E , BIND, TIE LIK E THINGS T O G E T H E R
T ie s tic k s
T ie p a p e rs
T ie k ey s
T ie p a g e s of a book
H a ir band
3. C O L L A G E M A T E R IA L
4. D R AW STRIN G
D r a w s tr in g fo r tru n k s
D r a w s trin g fo r bag
D r a w s trin g for p u r s e
5. FU SE
6. H A N D LE F O R BA SK ET
7. HANG OR SU SPEN D
H ang o r su sp e n d p ic tu r e s
H ang o r su sp e n d toy fo r a child
H ang o r su s p e n d p en d an t
H ang o r su sp e n d b ro o m
H ang o r su sp e n d m o b ile
H ang o r su sp e n d s k ir ts on a h a n g e r
Hang o r su sp e n d bell f r o m a b ird cage
8. HARNESS OR LEA SH
L e a s h fo r toy r a t
L e a s h fo r a c a t
9. H O LD C L O SE D
Hold c lo s e d a door
Hold c lo s e d a box
Hold c lo s e d a s u itc a s e
Hold c lo s e d a d r a w e r
T ie up a p ack ag e
10. H O LD O P E N
Tie c u r ta in s b a c k
Tie d o o r open
11. HO LD DOWN
T ie c u s h io n s in c h a ir
T ie knife a g a in s t leg
Tie h o l s t e r a g a in s t leg
12. H O LD T O G E T H E R
Tie up c h ic k e n fo r cooking
Tie up c h ic k e n fo r b a rb e c u in g
Tie up r o a s t fo r cooking
Tie up r o a s t fo r b a rb e c u in g
13. K IL L
14. LIN E ( h o riz o n ta l, f ro m w hich to hang th in g s)
S m a ll c lo th e s line
15. P L U M B LIN E
16. P U L L
P u ll fo r a w indow shade
P u ll a toy w agon
17. P U L L E Y B E L T
18. SE W IN G /L A C IN G
L a c e fo o tb all
Sew w ith it
M end w ith it
19. STR IN G BEADS
235
20. USE IT TO TE A C H C H IL D R E N TO T IE BOWS
21. T IE O N E THING ON TO A N O TH ER
T ie a tag on a p ac k ag e
S take up a flo w e r
22. T O U R N IQ U E T TO S T O P B L E E D IN G
23. T IE U M B IL IC A L CORD
24. W EA V E
No c r e d it is g iv en fo r r e s p o n s e s that have no u tility o r for
th o se w hich a r e e x tr e m e ly im p la u s ib le , such a s " lo s e i t , " " b r e a k i t , "
"fly a k ite . "
S c o rin g E x a m p le s
M ake h o le s in a s h e e t of p a p e r; m ak e h o le s in c a rd b o a r d ;
m a k e h o le s in b e l t .........................................................................................1 point
U se a s axle in toy c a r , u s e a s a x le in toy t r a i n , u s e a s
ax le in toy t r u c k ............................................................................................ 1 point
D ra w p ic tu r e s w ith it, sh ad e p i c t u r e s , w rite title of
p ic tu re on p a p e r ............................................................................................ 1 point
(No c r e d it is g iv en fo r " w ritin g " a s the in s tr u c tio n s c a ll fo r u s e fu l
th in g s th a t can be done w ith a p e n c il o th e r th a n w r itin g . )
T ie up s h ru b c u ttin g s; u s e a s a key rin g ; hold d o o r open;
hang up a m o b i l e ............................................................................................3 points
6 -V -A P R O P E N S IT Y F O R E L A B O R A T IO N
One point is g iv e n fo r e a c h a p p ro p r ia te ste p , p la n , o r d e c is io n
to be m a d e w hich the s u b je c t id e n tifie s . It is n o t u n c o m m o n fo r the
su b je c t to n a m e a g e n e r a l c la s s if ic a tio n , su ch a s " m a k e sta g e a r r a n g e
m e n t s , " and th en p ro c e e d to id en tify s e v e r a l s p e c ific k in d s of a r r a n g e
m e n ts th a t he m ig h t w is h to m a k e .
236
He m ay a d d , "M ake a r r a n g e m e n ts fo r a m ic ro p h o n e ; M ake
a r r a n g e m e n ts fo r a piano fo r the a c c o m p a n is t; M ake a r r a n g e m e n ts for
an a m p lif ie r ; M ake a r r a n g e m e n ts fo r s ta g e lig h tin g ." In su ch i n s ta n c e s ,
c r e d it is g iven fo r e a c h of the s ta g e a r r a n g e m e n ts m e n tio n e d . C r e d it
is n o t g iv en fo r n a m in g the g e n e r a l c a te g o ry , "M ake sta g e a r r a n g e
m e n ts ," w hen c r e d i t i£ given f o r the m o re s p e c ific a r r a n g e m e n ts , a s
th is is c o n s id e r e d a d u p lic a tio n r a t h e r th a n an ad d itio n a l r e s p o n s e . If
ju s t th e g e n e r a l c a te g o ry is s p e c ifie d , "M ake sta g e a r r a n g e m e n t s ,"
one p o in t of c r e d i t is a s s ig n e d to it.
S a m p le r e s p o n s e s fo r w hich c r e d i t h a s b een g iven a r e lis te d
below :
1. Go o v e r the p r o g r a m w ith the s in g e r.
2. H elp h im to s e c u r e an a c c o m p a n is t.
3. M ake a r r a n g e m e n ts fo r a piano.
4. M ake a r r a n g e m e n ts fo r a d d itio n a l e n te r ta in m e n t.
5. H ave c h ild r e n inv o lv ed in the p r o g r a m who w ill b e n e fit
f r o m the p lay g ro u n d .
6. A r r a n g e fo r the o r d e r o f a p p e a r a n c e of the e n t e r t a i n e r s .
7. A r r a n g e fo r a m a s t e r of c e r e m o n ie s .
8. D is c u s s w ith h im p o in ts th a t should be m e n tio n e d in h is
p r e s e n ta tio n .
9. M ake a r r a n g e m e n ts fo r a p la c e to hold the p r o g r a m .
10. D ecid e w h at tim e to h av e the p r o g r a m .
11. A r r a n g e fo r a d v e rtis in g in th e p a p e r.
12. A ppoint a c o m m itte e to m a k e p o s te r s .
13. G et p e r m i s s i o n to p la c e p o s t e r s in s to r e s .
14. M im e o g ra p h a n o tic e to se n d h o m e to p a r e n ts .
15. C o n ta c t s e r v ic e c lu b s , and g e t p e r m is s io n to s p e a k to
th e m of the n eed.
16. G et v o lu n te e r s p e a k e r s fo r the s e r v ic e c lu b s.
17. H ave d ra w in g s d is p la y e d of the p ro je c te d p lay g ro u n d .
18. A r r a n g e to have tic k e ts p rin te d .
19. D ecid e how m u ch to c h a rg e fo r tic k e ts .
20. G et v o lu n te e r tic k e t t a k e r s .
237
21. H ave a j a r a t th e d o o r f o r a d d itio n a l v o lu n ta ry c o n trib u tio n s .
22. G et v o lu n te e rs to m ak e candy.
23. G et v o lu n te e rs to s e ll candy.
24. G et v o lu n te e rs to m ak e coffee.
25. G et v o lu n te e rs to s e ll coffee.
26. G et v o lu n te e rs to m a k e punch.
27. G et v o lu n te e rs to s e ll punch.
28. A r r a n g e fo r t r a s h r e c e p ta c le s .
1 - P - A R E D E F IN IT IO N A B IL ITY
One p o int is g iven fo r any a n im a l the s u b je c t c a n re a s o n a b ly se e
in the a n im a l p ic tu r e . The c r i t e r io n fo r c r e d it is th a t the a n im a l id e n
tifie d m u s t have good fo rm .
A n im a ls fo r w hich c r e d i t h a s b e e n given a r e lis te d below and
m ay be se e n in th e illu s tr a tio n p ic tu re w hich fo llo w s, but th is te s t
should not be c o n s id e r e d to be c o m p le te . O th e r p o s s ib ilitie s e x is t fo r
good fo rm .
1.
Pig
20. B u tte rfly
2. C a t e r p i ll a r (w orm ) 21. L adybug
3. S q u ir r e l 22. In s e c t
4. K a n g a ro o 23. B ird
5. W o rm 24. F is h
6. Boy 25. C a m e l
7. F ly (bee) 26. B ird
8. B u tte rfly 27. T u rtle
9. F r o g (toad) 28. C a t
10. Snail 29. S nail (slug)
11. A r m a d illo (ra b b it) 30. F is h
12. T u r tle 31. G round s q u i r r e l
13. R a b b it 32. Snake (eel)
14. R a b b it (a rm a d illo ) 33. C h ick en
15. B ird 34. R ab b it
16. Dog 35. R ab b it
17. R at 36. C at
18. F is h 37. C ro c o d ile (p o rp o ise )
19. F is h
238
239 ,
i
I
3 - P - A F L U E N C Y O F THINKING j
|
One point is g iv en fo r e a c h d ra w in g of so m e th in g ro u n d th a t the
s u b je c t id e n tifie s . It is not n e c e s s a r y th at the d ra w in g be r e c o g n iz e d
in and of its e lf , but r a t h e r th a t the d ra w in g be c o n s is te n t w ith the n a m e
jgiven fo r it by the su b je c t.
| T h is s u b te s t is to m e a s u r e Id e a tio n a l F lu e n c y , o r the n u m b e r j
I i
jof id e a s involving a c ir c le th a t the s u b je c t can convey. A r t is t ic ability,'
I
jis n o t im p o rta n t. F o r th is r e a s o n , c r e d i t h as b e e n given f o r d ra w in g s i
j j
|of anything ro u n d , e v en though the a c tu a l d ra w in g s m a y be m o r e o v a l
| |
[than c i r c u l a r . !
i i
C r e d it is given for the d ra w in g the s u b je c t is w o rk in g on a t the i
I j
I |
;end of the tim e lim it, p ro v id in g the s u b je c t can n a m e the a p p r o p r ia te j
io b je c t. (See the follow ing page fo r e x a m p le s of c r e d it r e s p o n s e s .)
240
C r e d it h a s b e e n g iv en to r e s p o n s e s su c h as th o s e below :
o
B all
M a rb le Cup
F a c e
M outh
H a lf d o lla r
^ y = >
S alt s h a k e r R o llin g pin
G olf cup
4 - P - A F L E X IB IL IT Y O F THINKING
The s u b je c t m ay m a k e only one d ra w in g , o r m o r e than one.
One p o int is given fo r e a c h tim e any fig u re is u s e d in a d iff e re n t w ay.
If he is given c re d it fo r u sin g a c ir c le in m ak in g a head of a c a t, he
w ould not be given c r e d it fo r u sin g a c ir c le to m a k e a h e a d of a dog o r
a h ead of a p e rs o n . L ik e w is e , if he is g iven c r e d it fo r u sin g a c ir c le
fo r m ak in g an eye of a p e r s o n , he would n o t be g iven c r e d it fo r u sin g a
i c ir c le to m a k e an eye of a sn o w m an .
242
S c o rin g E x a m p le s
C at
Dog
M an
E a r s . . . .
E y e s . . . .
N o se . . . .
H ead . . . .
B ody . . . .
L e g s . . . .
T a il . . . .
7 p o in ts
E a r s . . . .
(sa m e a s c a t's e a r s )
H e a d . . . .
(sa m e a s c a t's head)
B ody . . . .
(sa m e a s c a t's body)
T a i l ..............
(sa m e a s c a t's ta il)
E y e s . . . .
M outh. . . .
L e g s . . . .
3 p o in ts
H ead . . . .
(sa m e a s c a t 's head)
L e g s . . . .
( s a m e a s c a t's leg s)
E y e s . . . .
(s a m e a s c a t 's e y e s)
A r m s . . . .
Body . . . .
2 p o in ts
T otal: 12 po in ts
243
V a,
S c o rin g E x a m p le s - - C ontinued
-Uf JjJ
M an
H a i r .................................................... 1 point
H e a d .................................................... 1 point
E a r s .................................................... 1 point
E y e b r o w s .......................................... 1 point
E y e l a s h e s .......................................... 1 point
E y e s .................................................... 1 point
P u p i l s 1 point
N o s e .................................................... 2 points
M o u th .................................................... 1 point
T e e t h 1 point
S h o u l d e r s .......................................... 1 point
W a i s t .................................................... 1 point
C h e s t .................................................... 1 point
B u tto n s 1 point
B u c k l e ................................................. 1 point
L im b s (u p p er p o r t i o n ) .............. 1 point
L im b s (lo w er p o r t i o n ) 1 point
H a n d s ................................................. 1 point
K n e e c a p s .......................................... 1 point
F e e t, s h o e s , t a s s e l ................. 3 points
23 points
P e t a l s ................................................. 1 point
S te m and g r o u n d ............................ 1 point
L e a v e s 1 point
C e n te r of f l o w e r ........................ 1 point
4 points
F lo w e r
5 - P - A O R IG IN A LITY
In g e n e r a l, two po in ts a r e given fo r e a c h s ta tic co n c ep t c o m
m u n ic a te d , and two points a r e g iv en for the im p lie d a c tiv ity . One
point is given for a sy m b o l th a t m ig h t r e s u l t in the s p e c ifie d a c tiv ity .
Six p o in ts a r e p o s s ib le for e a c h o f the five p r o b le m s , m ak in g a to ta l
m a x im u m of th irty p o in ts.
245
S c o rin g E x a m p le s
Dig a H ole
A sh o v e l, to o l, m a c h in e , o r a n im a l a s s o c i a te d w ith digging.
A hole w ith d i r t p ile d n e a r b y .....................................................................
A hole w ith o u t any in d ic a tio n of d i r t ....................................................
A r r o w s , l in e s , o r in v e r te d sh o v e l in d ic a tin g a c tiv ity
2 po in ts
2 points
1 p o int
2 p o in ts
3 p o in ts 4 po in ts
6 p o in ts 6 p o in ts
6 po in ts
246
S c o rin g E x a m p le s - - C ontinued
C lim b a T r e e
T r e e ................................................................................................................................ 2 points
L a d d e r , s te p s , c le a ts , w hich c o u ld be u s e d to get
into a t r e e 1 point
A r r o w s o r lin e s in d ic a tin g m o v e m e n t u p w a r d ..................................... 2 points
A n im a l a s s o c ia te d w ith c lim b in g , such a s a b e a r , c a t,
sn a k e , o r s q u i r r e l 2 points
T r e e w ith hand p r in ts o r f o o tp r in ts o r a c lim b in g a n im a l
on the t r u n k ........................................................................................................ 4 points
F o o tp r in ts lead in g to a t r e e an d d i s a p p e a r i n g ..................................... 5 points
6 p o in ts 5 po in ts 3 p o in ts 3 p o in ts
t o / o .v
: o
6 po in ts 4 p o in ts 5 p o in ts 4 p o in ts
247
S c o rin g E x a m p le s - - C ontinued
Sing a Song
M u s ic a l n o te s o r m u s ic a l n o te s on a s t a f f ............................................. 2 points
A n im al o r b ird th a t could be a s s o c ia te d w ith s in g in g ....................... 2 po in ts
An open m o u t h ........................................................................................................... 1 point
L in e s in d ic a tin g s o u n d 2 po in ts
M e c h a n ic a l s o u r c e w hich m a y r e la y sound, su c h a s
a r a d io , te le v is io n , m i c r o p h o n e 1 point
S o u rc e of m u s ic th a t could a c c o m p a n y sin g in g , su c h a s
a p iano o r g u i t a r 1 point
$ %
1 v
Q
4 p o in ts
3 p o in ts
6 p o in ts
3 p o in ts
5 points
2 po in ts
n
4 p o in ts 3 p o in ts
S c o rin g E x a m p le s - - C ontinued
J u m p a F e n c e
F e n c e 2 points
A n im a l a s s o c ia te d w ith j u m p i n g ................................................................. 2 points
A n im a l o r h u m a n t r a c k s ................................................................................... 2 points
A r r o w s o r lin e s in d ic a tin g ju m p in g m o v e m e n t.................................. 2 points
A n im a l o r h u m a n t r a c k s th a t com e to a fence and th en
continue on the o th e r s i d e ........................................................................ 5 points
A n im a l o v e r fe n c e in a c t of ju m p in g ........................................................... 5 points
A n im a l o v e r fe n c e in a c t of ju m p in g w ith lin e s
in d ic a tin g m o v e m e n t ...................................................................................... 6 points
5 po in ts 4 p o in ts
6 p o in ts 6 po in ts
S c o rin g E x a m p le s - - C ontinued
F a ll Down S t a ir s
S t a ir s . . . . 2 points
S o m e th in g th a t m ig h t c a u se one to fa ll, su c h as s k a te s ,
m a r b l e s , b a n a n a p e e l ............................................................................. 1 point
.Lines o r a r r o w s in d ic a tin g d o w n w a rd m o v e m e n t ...................... 2 points
L in e s o r a r r o w s in d ic a tin g tu m b lin g o r e r r a t i c m o v e m e n t. . . 3 points
S ta ir s w ith w a te r f a ll a t the b o tto m ........................................................ 4 points
B a ll on s t a i r s w ith lin e s in d ic a tin g m o v e m e n t d ow nw ard . . . . 5 points
B a ll u n s ta b ly p o sitio n e d on s t a i r s 4 points
3 p o in ts 4 p o in ts 6 points
l
4 p o in ts 4 p o in ts
250
6 - P - A e l a b o r a t i o n p e r f o r m a n c e
T h is s u b te s t is d iffic u lt to s c o r e a c c u r a te ly , b u t w hen the
p sy c h o lo g ic a l p r in c ip le s involved a r e u n d e rs to o d , s c o rin g r e lia b ility is
high. F o r the p e r s o n who p o s s e s s e s a hig h p r o p e n s ity for e la b o r a tio n ,
the p ro d u c tio n of one id e a n a tu r a lly le a d s to a n o th e r. T his s u b te s t
m e a s u r e s how m an y id e a s the s u b je c t e x p r e s s e s . T he s p e c ia l c o n
c e rn is w ith the n u m b e r of id e a s w hich a r e not a b s o lu te ly n e c e s s a r y but
w hich e la b o r a te the b a s ic c o n cep t. T he follow ing s te p s a r e su g g e ste d
to fa c ilita te the r e lia b ility of s c o rin g .
1. D ecide w hat is the b a s ic id e a the s u b je c t is try in g to
e x p r e s s . W hat is the s im p le s t, u n e la b o ra te d id ea w hich
i n c o r p o r a te s the s tim u lu s lin e ? One p oint is given fo r this
id ea.
2. N ext, one point is a s s ig n e d fo r e a c h a d d itio n a l id ea th a t is
e x p r e s s e d in the d raw in g .
Som e id e a s c o n s is t of m o re th a n one p a r t e v e n in th e ir s im p le s t
fo rm . F o r e x a m p le , it is d iffic u lt to d e te r m in e how m an y id e a s a r e
involved in a d ra w in g of a p e rs o n . It h a s b e e n the p r a c tic e to give only
one point fo r the d ra w in g of a p e r s o n th a t c o n ta in s th e sim p le r e p r e
s e n ta tio n s of the h e a d , e y e s , n o s e , m o u th , e a r s , body, a r m s , h a n d s ,
le g s , and fe e t. A n a d d itio n a l point is g iv en , h o w e v e r, fo r e a c h of the
follow ing e la b o r a tio n s .
251
1. H a ir, e y e la s h e s , e y e b ro w s , pupil o r i r i s in e y e s , n o s tr i ls
in a d d itio n to the outline of the n o s e , lip s , te e th , tongue,
f in g e r s , t o e s , s h o e s , o th e r than the s im p l e s t c ir c u l a r
r e p r e se n ta tio n .
2. E a c h d e ta il th a t is sh ad ed .
3. E a c h d e ta il th a t is given e x tr a lin e s to e x p r e s s w rin k le s o r
c o n v o lu tio n s.
C lo th es on the p e r s o n p r e s e n t a n o th e r p ro b le m . A g ain , the
p r in c ip le th at one point is to be a s sig n e d fo r e a ch a d d itio n a l d e ta il th a t
h a s b een u se d . E x a m p le s of d e ta ils fo r w hich one point e a c h is
a w a rd e d a r e a s follow s:
1. A h o r iz o n ta l line r e p r e s e n tin g a w a is t line o r b e lt
2. B e lt buckle
3. P o c k e t
4. B u ttons dow n the fro n t of the s h i r t
5. B uttons on th e cuffs
6. C o lla r
7. B utton on th e c o lla r
8. P a tc h e s
9. Tie
10. D e sig n on any d e ta il
11. H eel on a sh o e
12. S h o e la c e s on s h o e s
13. S h o e lac e e y e le ts on sh o es
14. H a ir bow
An a d d itio n a l p r o b le m a r i s e s in r e g a r d to the s c o rin g o f o b je c ts
th a t a r e r e p e a te d . S om e s u b je c ts d r a w s e v e r a l p e o p le , t r e e s , b i r d s ,
s h ip s , and so on. The p r a c tic e h a s b e e n to a w a rd one p o in t, but only
one point, fo r e a c h s c o r a b le d e ta il th a t is d u p lic a te d , no m a t t e r how
252
m an y tim e s it m a y have b een re p e a te d .
F o r the d ra w in g of a b o a t, it h a s b e e n the p r a c tic e to a s s ig n
one point fo r the sim p le h u ll s tr u c tu r e . An a d d itio n a l point is a w a rd e d
fo r e a c h added id e a such a s a m a s t, s a il, c a b in , d e c k , s ta c k s , rig g in g ,
a n c h o r, and so on. An a d d itio n a l p o int is g iv en for e a c h e la b o ra tio n
su ch a s a b a ll on the m a s t , c r o w 's n e s t, m a n in th e c r o w 's n e s t,
d e c o ra tio n o r d e s ig n a tio n on the s a il, p o rth o le s in the cab in , d e ta il
show ing the h o o k s on the a n c h o r o r the rin g w h e re the a n c h o r h a s b e e n
a tta c h e d to the ro p e . An a d d itio n a l p o in t is g iv en , of c o u r s e , to e a c h
o b je c t th a t is sh a d e d , d e ta ile d , o r g iven e x t r a lin e s to r e p r e s e n t an
a d d itio n a l id e a o r e la b o ra tio n .
S c o rin g E x a m p le s - - C ontinued
253 i
i
I
G ir l
B u tto n s on d r e s s ............. 1 p oint
S e a m ...................................... 1 point
G i r l .......................................... 1 point
P a n t i e s 1 p oint
L a c e on p a n t i e s 1 p oint
B o n n e t ................................... 1 p oint
H a i r ................................... 1 point
T o e s 1 point
T h u m b 1 point
T u b 1 point
W a te r in t u b .................. 1 point
G ro u n d line .................. 1 point
12 points
254
S c o rin g E x a m p le s - - C ontinued
Shoe
E a r s ...................................... 1 point
B o d y ...................................... 1 point
S h o e la c e ............................... 1 point
B o w .......................................... 1 point
L a c e s in s h o e 1 point
E y e le ts in s h o e .............. 1 point
S o l e .......................................... 1 p o in t
H e e l .......................................... 1 p o int
S h o e .......................................... 1 p o in t
E y e 1 p o int
E y e d e t a i l ............................ 1 p o in t
11 po in ts
255
S c o rin g E x a m p le s - - C ontinued
* •
J
I
r
^ . m.. - ' 1
V is ita tio n ............................ 1 p oint O b s e r v a to r y d o o r . ., . . 1 p oint
S t a r s ...................................... 1 p oint T e l e s c o p e ....................
C o n s t e ll a t i o n .................... 1 p oint H i l l ....................................
M o o n ...................................... 1 p oint B u s ....................................
F ly in g s a u c e r s .................. 1 point W indow s in bus . . .
M o v e m e n t of s a u c e r s . 1 p oint Hub c a p s ....................
P la n e ...................................... 1 point R o a d ...............................
L ig h ts on plane................. 1 p o in t
O b s e r v a t o r y ..................... 1 p o int 16 p o in ts
256
S c o rin g E x a m p le s - -C o n tin u e d
S n o w s t o r m ........................ 1 point
S n o w f l a k e s ........................ 1 p oint
M a n ......................................... 1 point
S k i s ......................................... 1 point
S t i c k s ................................... 1 point
B r e a t h ................................... 1 point
H a i r l i n e ............................... 1 p oint
B u i l d i n g ............................... 1 point
D o o r ...................................... 1 point
D oor h a n d l e 1 point
W i n d o w ............................... 1 point
W indow p a n e s ................. 1 point
W indow p a n e s ................. 1 point
T o w e r 1 point
T o w er c l o c k 1 point
H and on c l o c k ................. 1 point
C lock n u m b e r s .............. 1 point
Shading of to w e r . . . . 1 point
C r o s s on d o o r ................. 1 point
19 po in ts
INDIVIDUAL T E S T O F C R E A T IV IT Y
A d m in is tr a tio n M a n u a l - - F o r m B
G e n e ra l I n s tr u c tio n s fo r E x a m in e rs
E s ta b lis h r a p p o r t w ith the s u b je c t by tak in g tim e to e x p la in to h im
th a t th is is a t e s t of c r e a tiv ity in w hich he w ill be a s k e d to m ak e
d iffe re n t o r u n u su a l r e s p o n s e s to a wide v a rie ty of q u e s tio n s .
H e lp the s u b je c t u n d e rs ta n d how a c re a tiv ity t e s t d if f e r s f ro m
o th e r a c h ie v e m e n t o r in te llig e n c e t e s ts he m ay h a v e ta k e n w h e re
th e r e is only one c o r r e c t a n s w e r.
U rg e the s u b je c t to lis t e n to the d ire c tio n s c a re f u lly , but to fe e l
f r e e to give u n u su a l o r d iff e re n t r e s p o n s e s th at m a y o c c u r to h im .
S t r e s s th a t th e r e is no c o r r e c t a n s w e r.
W atch the s u b je c t's m o tiv a tio n fo r te s t a n x iety and a c r i t ic a l a t t i
tude to w a rd h is r e s p o n s e s and give h im e n c o u ra g e m e n t by r e m i n d
ing h im th a t th e r e c a n be no w ro n g a n s w e r in a t e s t of c r e a tiv ity .
If the s u b je c t b e g in s to show sig n s of r e s t l e s s n e s s , tak e a p a u se
b e tw e e n one of the s u b te s ts and ta lk w ith the s u b je c t o r allow
so m e o th e r r e s t ( i .e . , sm oking) to p ro v id e a change of p a c e.
M a te r ia ls to be u s e d in a d m in is te r in g th is t e s t w ill be found in
the ITO C R e c o rd B la n k o r in the d ire c tio n s fo r a d m i n i s t r a t o r s .
E a c h ite m is id en tified by its s u b te s t code c o rr e s p o n d in g to the
o r ig in a l p la c e m e n t by D r. R i s s e r in th e ITO C ( i .e . , 1 -V -A id e n
tif ie s the f i r s t v e rb a l s u b te s t of F o r m A, 6 - P - B id e n tifie s the l a s t
p e r f o r m a n c e s u b te s t of F o r m B.
260
F o r m B: D ir e c tio n s fo r A d m in is te rin g th e T e s t
1 -V -B R E D E F IN IT IO N A B IL IT Y
M a te r ia ls : D oodles A and B
D ir e c tio n s
T u rn to the f i r s t doodle and say to the su b ject:
I W ANT YOU TO T E L L M E WHAT YOU THINK THIS DRAWING
M IG H T B E . T H E R E IS NO O N E RIG H T A N SW ER. I JU ST
W ANT TO S E E HOW MANY D IF F E R E N T THINGS THIS M IGHT
B E FO R YOU. F O R E X A M P L E , THIS DRAW ING M IGHT BE
A W H E E L , (p au se) NOW W HAT DO YOU THINK THIS
M IG H T B E ?
T he s u b je c t m a y tu rn the d ra w in g in any w ay he c h o o s e s , although no
in s tr u c tio n s a r e g iv en th a t he m ay do th is . If he should a s k if it is
p e r m i s s i b le fo r h im to tu r n the t e s t b o o k let, say:
YES, YOU MAY I F YOU WISH.
R e p e a t p r o c e d u r e fo r se c o n d doodle.
The f i r s t tim e the s u b je c t sto p s re s p o n d in g and in d ic a te s he is finished*
say:
261
W HAT E L S E C O U L D IT B E ? HOW MANY THINGS CO ULD
THIS BE F O R YOU ?
T h is q u e s tio n is a s k e d only once and only fo r the f i r s t do o d le.
W hen the s u b je c t in d ic a te s he h a s fin ish e d , say:
EA C H T IM E , T E L L M E WHEN YOU A R E FIN ISH ED W ITH A
Q U ESTIO N , SO W E KNOW W HEN TO GO ON TO T H E N EX T
O N E.
2 - V - B SEN SITIV IT Y TO P R O B L E M S
D ir e c tio n s
Say to th e su b je c t:
I AM GOING TO ASK YOU TO T E L L M E SOME O F THE P R O B
L E M S TH A T YOU M IGHT HAVE W ITH SO M ETH IN G . FO R
E X A M P L E , I F I SHOULD ASK YOU W HAT A R E SOM E O F TH E
P R O B L E M S YOU M IGHT HAVE W ITH A P E N C IL , YOU M IGHT
SAY TH AT YOU M IGHT JA B Y O U R S E L F W ITH TH E SH A R P
P O IN T , TH E L E A D M IG HT B R E A K , YOUR YOU M IG HT LO SE
T H E P E N C IL .
(1) NOW, NA M E A L L T H E P R O B L E M S YOU M IG H T HA VE
IN DIGGING A H O L E .
If th e s u b je c t fa ils to r e s p o n d , r e p e a t the p ro b le m .
W HAT A R E SO M E P R O B L E M S YOU M IG HT H A V E IN
DIGGING A H O L E ?
If he s till fa ils to re s p o n d , say:
W E L L , YOU M IG HT NOT KNOW W HAT TO DO W ITH THE
D IR T . NOW CAN YOU THINK O F O T H E R P R O B L E M S TH A T
YOU M IGHT HA VE IN DIGGING A H O L E ?
263
E n c o u ra g e the r e s p o n d e n t to a n s w e r the q u e s tio n , but once the su b je c t
b e g in s to n a m e p r o b le m s , w ithhold c o m m e n t u n til the s u b je c t a p p e a r s
to fin is h . T hen say:
F IN E . CA N YOU THINK O F ANY O T H E R P R O B L E M S YOU
M IGHT H A V E IN DIGGING A H O L E ?
T h is q u e s tio n m u s t be a s k e d o n c e , but only o n c e .
W hen the s u b je c t in d ic a te s he h a s fin is h e d , say:
EA C H T IM E , T E L L M E W H EN YOU A R E FIN ISH ED W ITH A
Q U E ST IO N , SO W E W IL L KNOW W HEN TO GO ON TO TH E
N E X T ON E.
(2) NOW, NAM E A L L T H E P R O B L E M S YOU M IG HT HA VE
IN CA TC H IN G A CA T.
If the s u b je c t f a ils to re s p o n d , say:
W E L L , T H E CA T M IG HT RUN TOO F A S T F O R YOU. NOW
CAN YOU THINK O F ANY O T H E R P R O B L E M S YOU M IG H T
H A V E IN CA TC H IN G A CAT ?
T he f i r s t tim e th e s u b je c t sto p s re s p o n d in g , a s though fin is h e d , say:
F IN E . CAN YOU THINK O F ANY O T H E R P R O B L E M S YOU
M IG HT H A V E ?
3 - V - B F L U E N C Y O F THINKING
D ire c tio n s
Say:
NAM E AS M ANY THINGS AS YOU CAN TH A T A R E ROUND
AND S O F T .
If the su b je c t f a ils to re s p o n d , say:
YOU M IG H T SAY A B A L L O F C O TTO N . W HAT O T H E R
THINGS CAN YOU NA M E TH AT A R E ROUND AND S O F T ?
T he f i r s t tim e the s u b je c t s to p s a s though fin is h e d , say:
F IN E . CAN YOU NAM E ANY O T H E R THINGS TH A T A R E
ROUND AND S O F T ? NA M E A L L TH E THINGS YOU CAN
TH A T A R E ROUND AND S O F T .
265
4 -V -B F L E X IB IL IT Y O F THINKING
D ir e c tio n s
Say to the su b ject:
(1) YOU CAN DO M ANY THINGS WITH A SHOE. F O R ONE
THIN G, YOU CAN P U T IT ON YOUR FO O T AND W EAR IT.
T E L L M E A L L T H E D IF F E R E N T KINDS O F U S E F U L THINGS
T H A T YOU CAN DO W ITH A SHOE.
If th e s u b je c t b e g in s to n a m e s e v e r a l th in g s he could do w ith th e shoe
but d o e s not n a m e d iff e re n t kin d s of th in g s, r e p e a t the d ir e c tio n ,
e m p h a s iz in g the w o rd s " d iffe re n t k in d s . "
T he f i r s t tim e the s u b je c t s to p s , a s though fin ish e d , say:
A R E T H E R E O T H E R U S E F U L THINGS YOU COULD DO W ITH
A SHOE ? NAM E A L L T H E D IF F E R E N T KINDS O F THINGS
TH A T COULD B E DONE W ITH A SHOE.
(2) YOU CAN DO MANY THINGS W ITH A P IE C E O F W IR E.
FO R ONE THING, YOU CO ULD STR IN G IT B E T W E E N TW O
PO ST S AND M AK E A C L O T H E S L IN E . T E L L M E A L L T H E
D IF F E R E N T KINDS O F U S E F U L THINGS TH AT CO ULD B E
D O N E WITH A P IE C E O F W IRE.
2 6 6
The f i r s t tim e the s u b je c t s to p s , a s though fin is h e d , say:
A R E T H E R E O T H E R THINGS YOU CO ULD DO WITH A P IE C E
O F W IR E ? NAM E A L L TH E D IF F E R E N T KINDS O F U S E F U L
THINGS TH A T COULD B E DO NE W ITH A P IE C E O F W IRE.
267
6 - V - B P R O P E N S IT Y F O R ELA B O R A T IO N
D ire c tio n s
Say to the su b je c t:
P R E T E N D YOU W E R E ASKED TO M A K E A L L TH E PLA N S
F O R A CLASS A T SCHOO L TO VISIT A FA R M . T E L L M E
A L L T H E PL A N S YOU W OULD N E E D TO M AKE.
If the s u b je c t fa ils to re s p o n d , say:
W E L L , YOU W OULD HAVE TO P L A N W HAT FA R M YOU
W OULD VISIT. WHAT O T H E R PL A N S W OULD YOU HAVE
TO M A K E ?
The f i r s t tim e the s u b je c t sto p s and in d ic a te s th a t he h a s fin ish e d ,
say:
IS T H E R E AN Y TH IN G E L S E ?
It is im p o r ta n t th at th is q u e s tio n be a s k e d o n c e , but only o n c e , w ith
no f u r th e r e n c o u r a g e m e n t.
268
1 - P - B R E D E F IN IT IO N A B IL IT Y
M a te r ia ls : F lo w e r p ic tu re
D ire c tio n s
O pen the t e s t b o o k let to the flo w er p ic tu re and say:
SHOW M E A L L T H E A N IM A LS YOU CAN FIN D IN THIS
P IC T U R E .
T he s u b je c t m ay tu r n the d ra w in g in any way he c h o o s e s , although no
in s tr u c tio n s a r e g iven th a t he m a y do th is. If he should a s k if it is
p e r m is s ib le fo r h im to tu r n the t e s t bo o k let, say:
YES, YOU MAY IF YOU WISH.
If the s u b je c t fa ils to re s p o n d , say:
W E L L , H E R E IS A DOG. CAN YOU FIN D ANY O T H E R
A N IM A LS?
If you have tro u b le s e e in g the a n im a l the s u b je c t id e n tif ie s , have h im
p oint it out w ith the end of a p e n c il.
269
3 - P - B F L U E N C Y O F THINKING
D ir e c tio n s
Be s u r e the s u b je c t u n d e r s ta n d s the d ire c tio n s b e fo re the tim in g b e g in s.
E m p h a s iz e th at d raw in g a b ility is not im p o rta n t.
O pen the r e c o r d b o o k let to the F lu e n c y p e r f o r m a n c e t e s t and say:
NOW I W ANT TO S E E HOW MANY R E C O G N IZ A B L E THINGS
YOU CAN DRAW IN FO U R M IN U TES. E A C H DRAW ING M UST
H A V E A SQUARE IN IT. YOU MAY ADD ANY O T H E R LINES
YOU N E E D TO. DRAW ING A B IL IT Y IS NOT IM P O R T A N T ,
I AM JU S T IN T E R E S T E D IN HOW MANY R E C O G N IZ A B L E
THINGS YOU CAN DRAW . YOU HAVE ON LY FO U R M IN U TES.
R E M E M B E R , EA C H DRAW ING M UST H A V E A SQUARE.
If the s u b je c t s to p s , a s though fin is h e d , b e fo re the fo u r m in u te s a r e up,
say:
DRAW AS MANY THINGS AS YOU CAN USING A SQUARE.
GO A H EAD .
If th e r e is any doubt about a n y th in g th a t h a s b e e n d ra w n a f te r the tim e
lim it h a s e x p ir e d , a s k the s u b je c t to identify w hat he h a s d ra w n . He
sh o u ld th en w r ite the n a m e on e a c h d raw in g .
270
4 - P - B F L E X IB IL IT Y O F THINKING
D ir e c tio n s
O pen the r e c o r d b o o k le t to the F le x ib ility p e r f o r m a n c e t e s t and say:
AGAIN I W ANT YOU TO DRAW SO M ETH IN G R E C O G N IZ A B L E .
YOU MAY U SE T H E SE FIG U R E S, BU T ONLY TH E SE FIG U R E S,
TO M AK E YOUR DRAW INGS. THIS TIM E YOU MAY NOT ADD
ANY E X T R A LINES. YOU MAY USE ANY O F THE FIG U R ES
AS MANY TIM ES AS YOU WISH. YOU MAY USE T H E M IN
ANY WAY AND IN ANY PO SIT IO N . YOU MAY CHANGE
TH E IR SIZES BU T NOT T H E IR SH A P E S . R E M E M B E R , YOU
MAY NOT ADD ANY E X T R A LIN ES. YOU MAY M AK E ONE
DRAW ING OR M ANY. YOU W IL L H A V E FIV E M IN U TE S TO
M AKE YOUR DRAWINGS.
M ake s u re the s u b je c t u n d e r s ta n d s th e d ire c tio n s b e fo re the tim in g
b e g in s .
If he should b e g in to add e x tr a lin e s , r e m in d h im by saying:
R E M E M B E R , YOU A R E NOT TO ADD ANY E X T R A LIN ES.
YOU A R E TO USE ON LY T H E SE FIG U R E S TO M A K E YOUR
DRAWINGS.
If th e r e is any doubt on y o u r p a r t ab o u t w h a t th e s u b je c t h a s d ra w n
a fte r the tim e lim it h a s e x p ire d , a s k the su b je c t to identify w hat he
h a s d ra w n . He should then w rite th e n a m e on e a c h d raw in g .
5 - P - B O RIG IN ALITY
D ire c tio n s
O pen the r e c o r d b o o k le t to the O rig in a lity p e r f o r m a n c e t e s t and say:
I F I TO LD YOU TH AT I WAS GOING TO DO SO M ETH IN G LIKE
W ALK H O M E , HOW CO ULD YOU SAY TH E SA M E THING BY
DRAW ING ON A P IE C E O F P A P E R ? W E L L , ONE WAY W OULD
B E LIK E THIS (show s a m p le r e s p o n s e in r e c o r d booklet).
H E R E A R E SO M E M O R E THINGS TH A T P E O P L E CAN DO,
AND I W ANT YOU TO SAY TH E SAM E THINGS BY DRAWING
IN THE SQ UA RES ON THIS P IE C E O F P A P E R . T H E ONLY
THINGS YOU M AY NOT DO IS TO DRAW P E O P L E DOING TH E
THINGS, OR USE L E T T E R S OR NU M BERS.
If the su b je c t should d ra w a p e r s o n , o r u s e n u m b e r s o r l e t t e r s , say:
R E M E M B E R , YOU SHOULD NOT DRAW P E O P L E DOING TH E
THINGS OR USE L E T T E R S OR NU M BERS.
T his r e m in d e r is g iv e n only once.
273
6 - P - B P R O P E N S IT Y FO R ELA B O R A T IO N
D ir e c tio n s
1. P r e s e n t s tim u lu s s h e e t A in the r e c o r d b o o k let and say:
THIS IS T H E BEGINNIN G O F A DRAW ING. IT C O U LD B E A
DRAW ING O F A L M O ST AN YTHING. WHAT I W OULD LIK E
YOU TO DO IS TO FINISH T H E DRAW ING. T H E R E IS NO
O N E RIGHT DRAW ING. YOU MAY DRAW ANYTHING YOU
LIK E.
If the s u b je c t h e s i t a t e s , e n c o u ra g e h im by saying:
YOU MAY DRAW A N Y TH IN G YOU LIK E.
If the su b je c t s till s e e m s u n a b le to re s p o n d , say:
W E L L , THIS M IG H T B E W A T E R . YOU M IGHT ADD LIN ES
L IK E THIS ( illu s tr a te ) TO M A K E A C U P. YOU M IG H T E V E N
DRAW A T A B L E U N D ER T H E C U P. (Do n o t d r a w the ta b le . )
P r e s e n t th e o th e r s tim u lu s s h e e t w ith the in s tr u c tio n s :
NOW CAN YOU FINISH THIS DR A W IN G ? DRAW ANYTHING
YOU L IK E .
274
2. W hen the s u b je c t in d ic a te s he h a s fin ish e d h is d ra w in g (if you have
h a d to u s e s tim u lu s s h e e t B in the f i r s t a tte m p t, tu r n to s tim u lu s s h e e t
C fo r the seco n d r e s p o n s e ) , say to the su b je c t:
TU R N TH E P A G E AND YOU W IL L SE E TH E BEGINNIN G O F
A N O T H E R DRAW ING. IT C O U LD B E A DRAWING O F A L M O ST
A N YTHING. AGAIN. I W OULD LIK E YOU TO FINISH T H E
DRAW ING. T H E R E IS NO ONE RIG H T DRAWING. YOU MAY
DRAW ANYTHING YOU L IK E . P L E A S E M AK E YOUR D R A W
ING AS C O M P L E T E AS P O S S IB L E .
INDIVIDUAL T E S T O F C R E A T IV IT Y
S c o rin g G u i d e - - F o r m B
276
F o r m B: D ir e c tio n s fo r S c o rin g th e T e s t
A t e s t of c re a tiv ity m ay be e x p e c te d to p r e s e n t so m e new ,
s u r p r i s i n g , and in trig u in g ta s k s . W hile th e s e ta s k s m ay be b e w ild e r
ing to s o m e s u b je c ts , they w ill be c h a llen g in g to o th e r s . The s c o rin g
fo r a t e s t of c r e a tiv ity a ls o p r e s e n t s c e r ta in p e r p le x itie s . No s c o rin g
guide fo r a c r e a tiv ity t e s t can be a b s o lu te ly d e fin itiv e a s it is im p o s
sib le to a n tic ip a te a ll c r e a tiv e r e s p o n s e s . T h e r e a r e no s p e c ific ,
e x c lu s iv e , and e x h a u stiv e rig h t a n s w e r s - - o n l y a p p r o p r ia te o n e s . T h is
s c o rin g g u id e, th en , is p r im a r i ly a m a n u a l of s c o rin g p r i n c i p l e s .
M any e x a m p le s a r e in clu d ed to ill u s tr a t e the p r in c ip le s involved. O nce
the p r in c ip le s a r e g r a s p e d , the s c o rin g b e c o m e s r e la tiv e ly s im p le and
r e lia b le .
1 -V -B R E D E F IN IT IO N A B IL IT Y
One p o in t is g iven fo r e a c h r e s p o n s e . If the s u b je c t should
give a r e s p o n s e th a t is u n f a m ilia r , a s k h im to show how he h a s s e e n
the o b je c t th a t he h a s n a m e d . The w ide v a ria tio n of o b je c ts th a t have
b e e n id e n tifie d m ay be se e n f r o m the s a m p le of r e s p o n s e s lis te d belo w
(se e d o o d les A and B in E x a m i n e r 's M a te r ia ls ) :
D oodle A: 1. A sh tr a y
2. B a r r e l of gun
3. B ead
4. B r a c e l e t
5. B utton
6 .
7.
8 .
9.
10 .
11 .
12.
13.
14.
15.
16.
17.
18.
19.
2 0 .
2 1 .
22 .
23.
24.
25.
2 6 .
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
Doodle B: 1.
2 .
3.
4.
5.
6 .
7.
8.
C a s te r
Coin (an cien t)
C ookie
Cup and s a u c e r
C y lin d e r
D is c u s
D oor b e ll
D oughnut
E ye
F la s h lig h t
F lo w e r
F r ie d egg
F u n n e l
H a t
H ole
Hub ca p
L a m p shade
Life s a v e r
M oon c r a t e r
M u z zle of gun
P la te
P ip e
P o k e r chip
Pond
R e c o rd
S lice of p ineapple
S a u c e r
S now m an a s s e e n f r o m above
Sun w ith a halo
T a r g e t (b u llsey e)
T e e th in g rin g
T ire
Tube
T u n n el
W a s h e r
W heel
Y o-Y o
A pple
B ald m a n w ith one h a ir
B a ll of s tr in g (yarn)
B a llo o n
C andle
C h e r r y
C h r is tm a s t r e e o r n a m e n t
C o rk s c r e w
278
9. F i r e c r a c k e r
10. F la g e lla te
11. G ra p e
12. L a r ia t
13. L ig h t fix tu re
14. L o llipop
15. L o o se b u tton
16. M onicle
17. O ran g e
18. P o lly -w o g
19. P lu m
20. Road to a lake
21. S u c k e r
22. S p e rm a to z o a n
23. U p h o ls te ry ta c k
24. Yo-Y o
2 - V - B SEN SITIV IT Y TO P R O B L E M S
One point is g iven fo r e a c h a p p ro p r ia te r e s p o n s e . The only
d ifficu lty lik ely to be e n c o u n te re d in s c o rin g th is s u b te s t is in deciding
w hen th e r e a r e d u p lic a tio n s of r e s p o n s e s . A r e s p o n s e is c o n s id e r e d a
d u p lic a te w hen the p r o b le m id en tified is the s a m e a s p re v io u s ly sta te d
but d e s c r ib e d by d iff e re n t a d je c tiv e s . A s a m p le of a p p ro p r ia te
r e s p o n s e s and e x a m p le s show ing d u p lic a tio n s of r e s p o n s e s a r e lis te d
below :
Dig a hole: T he sh o v e l h a n d le
1. M ay be too long
2. M ay be to o s h o r t
3. M ay b r e a k
4. M ay s p lin te r
The sh o v e l b lad e
5. M ay n o t be s h a r p enough
6. M ay be b e n t
7. M ay be too s m a ll
279
8. M ay be too la r g e
9. M ay c o m e off the h an d le
The g ro u n d
10. M ay be too h a rd
11. M ay be too ro c k y
12. M ay be too sandy
13. M ay be too stic k y
14. M ay be too w e t
15. M ay h av e t r e e r o o ts in it
16. May cave in
The p e rs o n
17. M ay g e t tir e d
18. May g e t d irty
19. M ay g e t s p lin te r s
20. M ay g e t b l i s t e r s
21. M ay n o t be s tro n g enough
22. M ay n o t have enough tim e
23. M ay n o t h av e in c lin a tio n to dig
24. M ay fa ll in h ole
25. M ay n o t be ab le to get out of hole
26. M ay h it so m e o n e w ith the h an d le
(D uplicate: M ay h it so m e o n e w ith the
27. M ay h it so m e o n e w ith the d i r t
28. M ay g e t so inv o lv ed he f o r g e ts lunch
M is c e lla n e o u s
29. Know ing w h e re to dig the h ole
30. K now ing how big to dig
(D uplicate: K now ing how d e e p to dig)
31. K now ing w h e r e to put the d i r t
C atch a cat: 1. F in d in g a c a t to c a tc h
2. C o rn e rin g the c a t
3. G ettin g c a t to hold s till
4. G e ttin g ca t to co m e w hen i t 's c a lled
5. The c a t m ay bite
6. The c a t m ay s c r a t c h
7. The c a t m ay ru n too fa s t
8. The c a t m ay ju m p o v e r th in g s
" 280
9. The c a t m ay c ra w l u n d e r things
10. The c a t m ay c lim b out of r e a c h
11. The c a t m a y hide
12. The c a t m ay g et c h a se d by a dog
13. You m ay not w ant to c a tc h the c a t
14. You m ay g e t tir e d
15. You m ay fall and h u r t y o u r s e lf
16. You m ay have tro u b le holding th e c a t- - h e m ay
s q u ir m and g e t aw ay
17. You m ay be a lle r g ic to c a ts
3 -V -B F L U E N C Y O F THINKING
In th is t e s t of flu e n c y , the q u a lity of th e a n s w e r is n o t c o n s id
e r e d in the s c o rin g . One point is g iven fo r e a c h a p p r o p r ia te r e s p o n s e ,
even though the r e s p o n s e s m ay be s im i la r . T h is s u b te s t r e q u i r e s the
s u b je c t to n a m e th in g s th a t a r e round and soft.
It is not u n c o m m o n fo r the s u b je c t to n a m e a g e n e r a l c l a s s i f i c a
tion su c h a s " f r u it" and th en p ro c e e d to identify s e v e r a l sp e c ific kin d s
of f ru it. In su c h in s ta n c e s , c re d it is g iven fo r e a c h d iff e re n t fru it
given. C r e d it is not g iven for n a m in g the g e n e r a l c la s s , " f r u i t , " w hen
c r e d it is g iven fo r the s p e c ific kinds of f ru it, a s th is is c o n s id e re d a
d u p lic a tio n of r e s p o n s e r a t h e r than an a d d itio n a l r e s p o n s e . If ju s t the
g e n e r a l c a te g o ry , " f r u i t , " is sp e c ifie d , one p o int of c r e d it is a s s ig n e d
to it.
One p o in t is g iven fo r e a c h a p p r o p r ia te r e s p o n s e . C r e d it h a s
been g iv en fo r the r e s p o n s e s lis te d below:
281
1. F r u i t 17. F a t m a n 's s to m a c h
2. A pple 18. H a m b u r g e r bun
3. A p r ic o t
19. In n e r tube
4. B a n a n a 20. M a rs h m a llo w
5. P e a c h 21. P e a s
6. P lu m 22. P illo w
7. B all 23. P in c u sh io n
8. B a ll of cotton 24. P o a c h e d egg
9.
B all of c h e e s e 25. P o p - o v e r s
10. Snow ball 26. P o w d e r puff
11. B alloon 27. Roll
12. B r e a s t 28. Scoop of ice c r e a m
13. C h o c o la te s
29.
Socks r o lle d up
14. Cookie 30. Sponge
15. C upcake 31. T o m a to
16. D oughnut 32. W om an
4 - V - B F L E X IB IL IT Y O F THINKING
In the fle x ib ility of th in k in g s u b te s t, p o in ts only a r e a s s ig n e d
fo r the n u m b e r of d iff e re n t kin d s of u s e s s p e c ifie d . E x a m p le s of d if
f e r e n t kinds of r e s p o n s e s (in c a p ita l l e t te r s ) and th o se c o n s id e r e d to be
in a s im i la r c la s s (in s m a l l l e t te r s ) a r e given below :
U s e s fo r
a shoe: 1. B R O N Z E BABY SHOE FO R K E E P S A K E
2. DANCE
3. DIG W ITH IT
4. H IT /S T R IK E / P O U N D /B R E A i SPA N K
P o u n d ta c k
Spank child
B r e a k w indow
T h ro w a t dog
C r a c k n u ts
5. H O L D /H ID E THINGS
W a te r
F lo w e r s
M oney
F ilm
D ia m o n d s
D rin k out of it
282
U s e s
w ire :
6. KICK
7. LIG H T A M A T C H
8. S E L L IT
9. SKI
10. USE L E A T H E R TO M AK E D O L L DRESSES
11. USE L E A T H E R TO M A K E GASKETS
12. USE L E A T H E R TO M AK E W ASHERS
fo r
1. AN CH OR A T R E E IN P L A C E
Tie lim b s of t r e e to g e th e r
K eep t r e e f r o m fa llin g o v e r
2. A N TEN N A
A n te n n a fo r ra d io
A n te n n a fo r te le v is io n
3. B E L T
4. B R A C ES F O R T E E T H
5. B U N D L E , BIN D , T IE LIK E THINGS T O G E T H E R
Bind s tic k s
Bind flo w e rs
B ind b o x e s
B ind h a n d s
6. C L E A N O U T OR U N PL U G
Unplug pipe
U nplug tubing
Unplug p lu m b in g
C le a n f in g e r n a ils
7. C LO SE BAG
C lo se p la s tic bag fo r b re a d
C lo se fe e d s a c k
8. CONDUCT E L E C T R IC C U R R E N T
M ake m a g n e t
U se a s te le p h o n e w ire
M ake m o to r
9. CU T THINGS
10. FR A M E W O R K
F r a m e w o r k fo r p la s te r in g
F r a m e w o r k fo r s c u lp tu re
F r a m e w o r k fo r flo w e rs
11. HANG
H ang b a s k e t
H ang f lo w e r s
H ang p ic tu r e
M ake m o b ile
' .................................................... 283
12. H O LD C L O S E D /T O G E T H E R
T ie a box c lo se d
T ie le ttu c e
13. LEA SH FO R DOG
14. LIN E F O R C L O T H E S
15. M AK E A B A R R E L
16. M AKE JE W E L R Y
17. M AKE STR IN G ED M U SICA L IN STR U M EN T
18. P IC K A LO CK
19. P U L L CARS
P u ll a c a r
P u ll a w agon
P u ll a sle d
20. SC R A T C H ID E N T IF Y IN G L E T T E R S ON M E T A L
21. M AK E SPR IN G
22. S T R A N G L E SO M EO N E
23. ROAST M A R SH M A LLO W S/W EIN ER S
6 - V - B P R O P E N S IT Y F O R E L A B O R A T IO N
One p o int is given fo r e a c h a p p r o p r ia te ste p , p lan , o r d e c is io n
to be m a d e w hich the s u b je c t id e n tifie s . It is n o t u n c o m m o n fo r the
su b je c t to n a m e a g e n e r a l c la s s if ic a tio n , su ch a s "m ak e a r r a n g e m e n ts ,"
and th e n p r o c e e d to identify s e v e r a l s p e c ific kin d s of a r r a n g e m e n ts
that he m ig h t w ish to m a k e .
He m a y ad d , "M ake a r r a n g e m e n ts w ith the f a r m e r ; M ake
a r r a n g e m e n ts fo r a lunch; M ake a r r a n g e m e n ts fo r tra n s p o rta tio n ; M ake
a r r a n g e m e n ts fo r e x tr a help. " In su c h in s ta n c e s , c re d it is g iven fo r
e a ch of the a r r a n g e m e n ts m e n tio n e d . C r e d it is n o t given f o r n a m in g
the g e n e r a l c a te g o ry , "M ake a r r a n g e m e n t s , " w hen c r e d it i£ g iv en fo r
the m o r e s p e c ific a r r a n g e m e n ts , a s th is is c o n s id e re d a d u p lic a tio n
r a t h e r th an an a d d itio n a l r e s p o n s e . If ju s t the g e n e ra l c a te g o ry is
284
s p e c ifie d , "M ake a r r a n g e m e n ts , " one p oint of c r e d i t is a s s ig n e d to it.
A s a m p le of s c o r a b le r e s p o n s e s is found below:
1. D ecid e w h at kind of f a r m to v is it.
2. D ecide w hat f a r m to v isit.
3. D is c u s s a r r a n g e m e n ts w ith f a r m e r .
4. D ecid e w hat d ay to go.
5. D ecid e w hat tim e to go.
6. D ecide w hat tim e to com e h o m e .
7. D ecide w hat th in g s to see and do.
8. D is c u s s a r r a n g e m e n ts w ith p r in c ip a l of sch o o l.
9. G et p e r m i s s i o n f ro m p a re n ts .
10. A r r a n g e fo r tr a n s p o r ta tio n .
11. P r e p a r e c la s s fo r v is it by d is c u s s in g w h a t w ill be se e n .
12. P r e p a r e c la s s fo r v is it by d is c u s s in g d e p o rtm e n t.
13. A r r a n g e fo r so m e o n e to w rite th a n k -y o u le t te r .
14. G et p a r e n ts to go along to h elp .
15. D ecid e w hat to do about lunch.
16. M ake f in a n c ia l a r r a n g e m e n ts .
1 - P - B R E D E F IN IT IO N A B IL IT Y
One p o int is g iven fo r any a n im a l the s u b je c t can re a s o n a b ly
s e e . The c r i t e r i o n fo r c r e d i t is th at the a n im a l id en tified m u s t have
good fo rm . A n im a ls fo r w hich c r e d it h a s b e e n g iv en a r e lis te d below
and m ay be s e e n in the illu s tr a tio n p ic tu r e w hich fo llo w s, but th is lis t
should not be c o n s id e r e d to be c o m p le te . O th e r p o s s ib ilitie s e x is t for
good fo rm .
1. B u tte rfly 10. B u tte rfly
2. T u r t l e / a r m a d i l l o 11. L a d y bug
3. T u rtle 12. R a b b it
4. R a b b it 13. F i s h
5. R a b b it 14. B u tte rfly
6. Snake
15. F i s h
7. B u tte r f ly / m o th 16. S q u ir r e l
8. L ady bug 17. Snake
9. M o u se 18. B ir d
19.
2 0 .
21 .
2 2 .
23.
24.
25.
2 6 .
S pider
27. Cat
M ouse
28. B i r d /f is h
C at 29.
B u tte rfly
Dog
30. B u tte rfly
C hicken
31. C h ic k e n /h e n
D uck
32. F l y / i n s e c t
B ird
33. F is h
C a t
286
~ - - - 287
3 - P - B F L U E N C Y O F THINKING
One point is g iv en fo r e a c h d ra w in g of so m e th in g s q u a re th a t
the s u b je c t id e n tifie s . It is n o t n e c e s s a r y th a t the d ra w in g be r e c o g
n ized in and of its e lf , but r a t h e r that the d ra w in g be c o n s is te n t w ith the
n a m e g iven fo r it by the s u b je c t.
T his s u b te s t is d e s ig n e d to m e a s u r e Id e a tio n a l F lu e n c y , o r the
n u m b e r of id ea s involving a s q u a r e th a t the s u b je c t c a n convey. F o r
th is r e a s o n , c r e d it h a s b een a s s ig n e d to d ra w in g s of any s q u a re o b jec t,
even though the a c tu a l d ra w in g s of the s q u a re o b je c t m a y be m o r e r e c
ta n g u la r th an s q u a re .
C re d it is n o t g iv en , h o w e v e r, to d ra w in g s w hich a r e m o r e r e c
ta n g u la r th a n s q u a re if th e o b je c ts d ra w n a r e a ls o a c tu a lly m o r e r e c
ta n g u la r th a n s q u a re (one d im e n s io n m o r e th an one an d a h a lf tim e s the
s iz e of the o th e r).
C re d it is g iv en to d ra w in g s w hich in clu d e a s q u a r e a p p r o p r i
a te ly , even though the o b je c t d ra w n is not s q u a re .
C re d it is g iv en fo r the d raw in g the s u b je c t is w o rk in g on a t the
end of the tim e lim it p ro v id in g the s u b je c t can n a m e th e a p p ro p r ia te
o b je c t.
C r e d it R e s p o n s e s
W indow
D o o r
Box
B ook
H o u se
T ab le
***
-------------
B ook
F la g
S u itc a s e
F ir e p la c e
B r ic k
N o n c re d it R e s p o n s e s
289
D o o r
S u itc a s e
L e t te r
k ' '
O — cn
W agon
o
F la g
H o m e p late
4 - P - B F L E X IB IL IT Y O F THINKING
The su b je c t m ay m a k e only one d ra w in g , o r m o r e th an one.
One point is given fo r e a c h tim e any fig u re is u se d in a d iff e re n t w ay.
If he is g iven c r e d it fo r u s in g a c ir c le in m ak in g a h ead of a c a t, he
w ould not be g iven c r e d it fo r u sin g a c ir c le to m ak e a h e a d of a dog o r
a h e a d of a p e rs o n . L ik e w is e , if he is g iven c r e d it fo r u s in g a c ir c le
fo r m ak in g an eye of a p e r s o n , he would n o t be g iven c r e d it for u sin g
a c ir c le to m a k e an eye of a snow m an.
Credit R esponses
291 ,
T o tal
/
S c o rin g R e s p o n s e s
/
/
/
/
/
/
/
B
n
□ 0 1
< g >
/
/
T o ta l = 28
293
5 - P - B O R IG IN A LITY
In g e n e r a l, two points a r e g iv en fo r e a ch s ta tic c o n c ep t c o m
m u n ic a te d , and two p o in ts a r e g iven fo r the im p lie d a c tiv ity . One p o in t
is given fo r a sy m b o l th at m ig h t r e s u l t in the sp e c ifie d a c tiv ity . Six
points a r e p o s s ib le fo r e a ch of the five p r o b le m s , m a k in g a to tal
m a x im u m of th irty p o in ts.
294
S c o rin g E x a m p le s
Sw im a L a k e
L a k e 2 points
An a n im a l a s s o c i a te d w ith sw im m in g by th e l a k e ........................... 3 points
An a n im a l a s s o c i a te d w ith...sw im m in g in th e l a k e .......................... 5 points
An a n im a l a s s o c i a te d w ith s w im m in g in the la k e w ith
lin e s in d ic a tin g m o v e m e n t of a n im a l o r w a t e r 6 points
3 p o in ts
6 p o in ts
S c o rin g E x a m p le s - - C ontinued
T ie a Knot
A p ie c e of ro p e o r s t r i n g ................................................................................... 2 points
Rope tie d in a k n o t 2 po in ts
A s e q u e n c e of two p i c t u r e s , one show ing a ro p e
u n tie d , one show ing th e ro p e t i e d ......................................................... 5 p o in ts
A s e q u e n c e of th r e e d ra w in g s show ing ro p e in v a ry in g
s ta g e s of a k n o t 6 po in ts
A ro p e p a r tia lly tie d in a knot w ith a r r o w s o r lin e s
in d ic a tin g d ir e c tio n to pull to c o m p le te the k n o t ........................... 6 points
2 p o in ts
6 p o in ts
6 p o in ts
S c o rin g E x a m p le s - -C o n tin u e d
P ic k a F lo w e r
F lo w e r u p r ig h t a s though g ro w in g in th e g r o u n d 2 po in ts
A p i c k ............................................................................................................................ 2 points
A p ick e d flo w e r (flo w er lying dow n o r flo w e r in v a se ) .............. 2 points
A se q u e n c e of two p i c t u r e s , one in w hich the flo w e r is
g ro w in g , an d one in w hich the flo w e r h a s b e e n picked . . . . 5 points
A flo w e r w hich is being s tr u c k w ith a p i c k ......................................... 5 po in ts
A se q u e n c e of th re e p i c t u r e s , one in w hich the flo w er
is b ein g b e n t o r p ick e d and one in w hich the flo w e r
h a s b e e n p i c k e d 6 po in ts
2 po in ts
5 p o in ts
2 points
t
5 p o in ts
297
S c o rin g E x a m p le s - - C ontinued
R e c ite a P o e m
L in e s in d ic a tin g a s t a n z a ........................ 2 points
L in e s in d ic a tin g a m e t e r , a v e r s e div id ed into fe e t
o r s y lla b ic g r o u p s .......................................................................................... 3 points
L in e s in d ic a tin g ta lk in g o r s o u n d ................................................................ 2 points
A m o u t h ......................................................................................................................... 1 point
2 p o in ts 2 p o in ts
6 p o in ts
298
S c o rin g E x a m p le s - - C o n tinued
H ide F a s t
An a n im a l h i d e 2 points
A n im a l n e a r a b r o k e n v a s e o r o th e r s itu a tio n w hich
m ig h t r e a s o n a b ly c a u se a n im a l to hide f r o m m a s t e r ................ 3 po in ts
A n im a l b e h in d a s c r e e n of so m e k i n d ....................................................... 4 points
A n im a l p a r tia lly h i d d e n ...................................................................................... 4 points
A n im a l h id e w ith n a ils pinning it to a w a ll 6 points
A n im a l w ith lin e s in d ic a tin g m o v e m e n t to a p la c e
w h e re it m ig h t h i d e .......................................................................................... 6 points
A n im a l in a h iding p la c e w ith lin e s in d ic a tin g ra p id
m o v e m e n t to i t ................................................................................................. 6 points
3 po in ts 4 po in ts
-
4 p o in ts
(
6 p o in ts 6 po in ts
299
6 - P - B E L A B O R A T IO N P E R F O R M A N C E
T h is s u b te s t is d iffic u lt to s c o r e a c c u r a te ly , but w hen the
p s y c h o lo g ic a l p r in c ip le s involved a r e u n d e rs to o d , s c o rin g r e lia b ility is
high. F o r the p o e rs o n who p o s s e s s e s a high p ro p e n s ity for e l a b o r a
tion, the p ro d u c tio n of one id e a n a tu r a lly le a d s to a n o th e r. T h is s u b
t e s t m e a s u r e s how m an y id e a s the s u b je c t e x p r e s s e s . The s p e c ia l c o n
c e r n is w ith the n u m b e r s of id e a s w hich a r e not a b s o lu te ly n e c e s s a r y
but w hich e la b o r a te the b a s ic c o n c ep t. The follow ing s te p s a r e s u g
g e s te d to f a c ilita te the re lia b ility of s c o rin g .
1. D ecide w h a t is the b a s ic id e a the s u b je c t is try in g to
e x p r e s s . W hat is the s im p le s t, u n e la b o r a te d id e a w hich
i n c o r p o r a te s the s tim u lu s lin e ? One p o in t is g iven for
th is idea.
2. N ext, one p o in t is a s s ig n e d fo r e a c h a d d itio n a l id e a th a t
is e x p r e s s e d in the d ra w in g .
Som e id e a s c o n s is t of m o r e th a n one p a r t e v e n in t h e ir s im p le s t
fo rm . F o r e x a m p le , it is d iffic u lt to d e te r m in e how m an y id e a s a r e
involved in a d ra w in g of a p e rs o n . It h a s b e e n the p r a c tic e to give only
one p oint fo r the d ra w in g of a p e r s o n th a t c o n ta in s the sim p le r e p r e
se n ta tio n s of the h e a d , e y e s , n o s e , m o u th , e a r s , body, a r m s , h a n d s ,
le g s , and fe e t. An a d d itio n a l p oint is g iv en , h o w e v e r, fo r e a c h of the
follow ing e la b o r a tio n s .
------------ 300
1. H a ir , e y e la s h e s , e y e b ro w s , pupil o r i r i s in e y e s , n o s tr i ls
in a d d itio n to the outline of the n o s e , lip s , te e th , tongue,
f in g e r s , to e s , s h o e s , o th e r th a n the s im p l e s t c ir c u l a r
r e p r e s e n ta tio n .
2. E a c h d e ta il th a t is sh ad ed .
3. E a c h d e ta il th a t is given e x tr a lin es to e x p r e s s w r in k le s o r
co n v o lu tio n s.
C lothes on the p e r s o n p r e s e n t a n o th e r p r o b le m . A g ain , the
p rin c ip le that one p oint is to be a s s ig n e d fo r e a c h a d d itio n a l d e ta il has
b e e n u s e d . E x a m p le s of d e ta ils fo r w hich one p o in t e a c h is a w a rd e d
a r e a s follow s:
1. A h o r iz o n ta l lin e r e p r e s e n tin g a w a is t line o r b e lt
2. B e lt buckle
3. P o c k e t
4. B uttons dow n th e fro n t of the s h ir t
5. B uttons on th e cuffs
6. C o lla r
7. B utton on the c o lla r
8. P a tc h e s
9. Tie
10. D e sig n on any d e ta il
U . H eel on a sh o e
12. S h o e la c e s on sh o e s
13. S h o elace e y e le ts on sh o e s
14. H a ir bow
An a d d itio n a l p r o b le m a r i s e s in r e g a r d to the s c o rin g of o b je c ts
th a t a r e r e p e a te d . S o m e s u b je c ts d r a w s e v e r a l p e o p le , t r e e s , b ir d s ,
s h ip s , and so on. T he p r a c tic e h a s b een to a w a rd one p o in t, b u t only
one p o in t, for e a c h s c o r a b le d e ta il th a t is d u p lic a te d , no m a t t e r how
m a n y tim e s it m a y have b e e n r e p e a te d .
F o r the d ra w in g of a b o a t, it h a s b e e n the p r a c tic e to a s s ig n one
p oint fo r the s im p le hull s tr u c tu r e . An a d d itio n a l point is a w a rd e d fo r
e a c h ad d ed id ea su ch a s a m a s t , s a il, c a b in , d e c k , s ta c k s , rig g in g ,
a n c h o r , and so on. An a d d itio n a l p oint is g iven fo r e a c h e la b o r a tio n
su c h a s a b a ll on the m a s t, c r o w 's n e s t, m a n in the c r o w 's n e s t, d e c o
r a tio n o r d e s ig n a tio n on the s a il, p o r th o le s in the c a b in , d e ta il show ing
the h o o k s on the a n c h o r o r the rin g w h e re the a n c h o r h a s b e e n a tta c h e d
to th e ro p e . An a d d itio n a l p o in t is g iv en , of c o u r s e , to e a c h o b je c t th a t
is s h a d e d , d e ta ile d , o r g iv en e x tr a lin e s to r e p r e s e n t an a d d itio n a l id e a
o r e la b o r a tio n .
302
S c o rin g E x a m p le s
S u b m a rin e
S u b m a r i n e ............................ 1 point
1 point
T xre
T i r e ......................................... 1 p oint
T r e a d ...................................... 1 point
2 points
F lo w e r p o t ............................ 1 p o int
D e ta il a t to p of pot . . . . 1 point
D i r t in p o t ............................ 1 point
F l o w e r s ................................... 1 p o int
L e a v e s ................................... 1 p o int
D u p lic a tio n of f lo w e r s
and l e a v e s ..................... 2 p o in ts
7 p o in ts
F lo w e r pot
S c o rin g E x a m p le s --C o n tin u e d
Ja lo p y
R a d i a t o r ................................... 1 p o int
R a d ia to r c a p ........................ 1 point
G r i l l .......................................... 1 point
A u t o m o b i l e ............................ 1 point
A ir v e n ts in h o o d ................. 1 point
T r e a d on t i r e s ..................... 1 point
H andle on d o o r .................. 1 point
R e a r b u m p e r ......................... 1 point
U p h o l s t e r y ............................ 1 point
T ru n k on r u m b le s e a t . . 1 p oint
R unning b o a r d ..................... 1 p oint
H u b c a p ...................................... 1 point
12 po in ts
S c o rin g E x a m p le s - - C ontinued
B a k e r
H e a d .......................................... 1 point
E y e b r o w s ............................... 1 point
H a t ............................................. 1 point
H a t b a n d ................................... 1 p oint
F o ld s in h a t 1 point
B o d y 1 point
O v e r a lls ................................ 1 point
B e lt 1 point
8 po in ts
S c o rin g E x a m p le s - -C o n tin u e d
F ly s w a tte r and fly
F ly s w a t t e r ...................... 1 p oint
Two d im e n s io n a l h a n d le . 1 p oint
S c r e e n w i r e ................... 1 point
F l y ....................................... 1 p oint
L e g s of f l y ...................... 1 point
5 p o in ts
T e e t e r - t o t t e r an d flag
T e e t e r - t o t t e r 1 point
B a s e 1 p o in t
G i r l 1 p oint
H a i r ............................................. 1 p oint
F l a g 1 p oint
S t a r s .......................................... 1 point
S t r i p e s ...................................... 1 point
B a ll on fla g p o l e .............. 1 p o in t
8 p o in ts
S c o rin g E x a m p le s - -C o n tin u e d
o
o
o
B ubble b lo w e r
P i p e .......................................... 2 p o in ts
D e sig n on pipe bow l . . . 1 p o in t
Soap b u b b l e s ......................... 1 p o in t
D is h ............................................. 1 p o in t
W a te r l i n e ............................ 1 p o int
B a s e of b o w l 1 p o int
T a b l e 1 p o int
Shading on t a b l e .................. 1 point
9 p o in ts
INDIV ID UAL T E S T O F C R E A T IV IT Y
R e c o rd B o o k l e t- - F o r m A
I
308
I T O C
In d iv id u al T e s t of C re a tiv ity
FO R M A
N a m e _____________________________ S e x _________G ra d e _____ D ate
Y ear M onth Day
A d d re s s D e sc e n t B o rn
Y ear M onth Day
F a t h e r 's O ccu p atio n M o th e r's O c cu p atio n
H om e P h o n e
V E R B A L FA CTO RS PE R FO R M A N C E
R S S S R S S S
R e d e fin itio n
S e n s itiv ity to P ro b le m s
F lu en cy
F le x ib ility
O rig in a lity
E la b o ra tio n
T o ta l
T o ta l C re a tiv ity S c o re
R e m a rk s
E x a m in e r
k
309
l-V -A
HL
1.____________________________________________________
2 . _________________________________________________________________
3 . _________________________________________________________________
4 . _________________________________________________________________
5 . _________________________________________________________________
6 . _________________________________________________________________
7 . _________________________________________________________________
8 . _________________________________________________________________
9 . _________________________________________________________________
1 0 .
1 1 ._________________________________________________________________
1 2 ._________________________________________________________________
1 3 . _________________________________________________________________
1 4 . _________________________________________________________________
1 5 . _________________________________________________________________
16 . _________________________________________________________________
17 . ________________________________________ _________________________
18 . _________________________________________________________________
1 9 ._________________________________________________________________
2C.____________________________________________________
2 1 . __________
S u b to ta l
310
1 - V -A - - Continued
(2) D oodle B
- 1,1 " J — i , ,i -.■■sr.g..............
1.________________________________________
2 . ___________________________________________________
3 . ___________________________________________________
4 . ___________________________________________________
5 . ___________________________________________________
6 . ___________________________________________________
7 . ____________
8 . _____________________________________________
9 . ___________________________________________________
1 0 .________________________________________
1 1 .___________________________________________________
1 2 .___________________________________________________
13 . ___________________________________________________
14 . ___________________________________________________
15 . ___________________________________________________
16 . ___________________________________________________
1 7 .___________________________________________________
IS._________________________________________
19 . ___________________________________________________
20 . ___________________________________________________
21.
S u b to tal
T o ta l A&B
311
( 1) B ro o m
1.______
2 .________
3 . ________
4 . ________
5 . ________
6 . _______
7 . ________
8 . ________
9 .________
XO._______
1 1 ._________
1 2 .________
13 . _________
14 . _________
15 . _________
16 . _________
17 . _________
18 . _________
19 . _________
2 0 . _________
21.
S u b to tal
2 - P - A
312
(2) E a tin g U te n sil
1._____________
2._____________
3 . ________________
4 . ________________
5 . ________________
6 . ________________
7 . _________________
8 . ________________
9 . _________________
1 0 ._________________
1 1 ._________________
1 2 ._________________
1 3 . _________________
1 4 . _________________
15 . _________________
1 6 . _________________
1 7 . _________________
1 8 . _________________
19 . _________________
2 0 . _________________
21.
S u b to tal
2 -V -A
T o ta l
2 -V -A
2 -V -A --C o n tin u e d
1.
2.
3.
4 .
5 .
6.
7 .
8.
9 .
10.
11 .
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
T o ta l
3 -V -A
I
314
4-V -A
1.____________________________________
2.___________________________________
3 . ____________________________________________
4 . ____________________________________________
5 . ____________________________________________
6 . ____________________________________________
7 . ____________________________________________
8 . _____________________________________
9 . ____________________________________________
1 0 .
11._____________________________________________
12._____________________________________________
13 . _____________________________________________
14 . _____________________________________________
15 . _____________________________________________
16 . _____________________________________________
17 . _____________________________________________
18 . _____________________________________________
19 . _____________________________________________
2 0 . ______________
2 1 . _____
S u b to tal
4 -V -A
315
4 -V -A - - C ontinued
(2) S h o e a trin g
1.________________________________________
2 . __________________________________________________
3 . __________________________________________________
4 . ________________________________________
5 . ___________________________________________________
6 . ___________________________________________________
7 . ___________________________________________________
8 . ________________________________________
9 . ___________________________________________________
1 0 .
1 1 .___________________________________________________
1 2 .___________________________________________________
13 . ___________________________________________________
14 . ___________________________________________________
15 . ___________________________________________________
16 . ___________________________________________________
17 . ___________________________________________________
18 . ___________________________________________________
19 . ___________________________________________________
2 0 . ________________________________________________
2 1 . __________________
S u b to ta l
4 -V -A
T o ta l
4 -V -A
316
6 -V -A
P r o g r a m ______________________________________
1. __________________________
2 . _ ___________________________________________
3 . _____________________________________________
4 . _____________________________________________
5 . _____________________________________________
6 . _____________________________________________
7 . _____________________________________________
8 . ____________________________________
9 . _____________________________________________
1 0 ._____________________________________________
11. __________________________________________
1 2 ._____________________________________________
13 . _____________________________________________
14 . _____________________________________________
15 . _____________________________________________
16 . _____________________________________________
1 7 . _____________________________________________
18 . _____________________________________________
19 . _____________________________________________
2 0 . _____________________________________________
21.
T o ta l
6 -V -A
317
318
l - P - A
A n im a l P ic tu r e
1.
2.
3.
4 .
5.
6.
7.
a.
9 ..
10.
11.
12.
13.
14.
15.
16.
17.
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Asset Metadata

Creator Fridley, Donald Ross Hulen (author)

Core Title A Study Of The Factorial Validity And Reliability Of The Individual Test Of Creativity

Contributor Digitized by ProQuest (provenance)

Degree Doctor of Philosophy

Degree Program Education

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag education, educational psychology,OAI-PMH Harvest

Language English

Advisor Metfessel, Newton S. (committee chair), Lovell, Constance (committee member), Michael, William B. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-788007

Unique identifier UC11364165

Identifier 7309311.pdf (filename),usctheses-c18-788007 (legacy record id)

Legacy Identifier 7309311

Dmrecord 788007

Document Type Dissertation

Rights Fridley, Donald Ross Hulen

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA