Accounting for Creativity Within a Psychologically Realistic Cognitive Architecture - Computational Creativity Research: Towards Creative Machines - page 155

As explained earlier, the CLARION cognitive architecture contains four major
subsystems, which include the motivational subsystem (the MS, as mentioned ear-
lier; see Fig. 8.1 ) that captures various innate, essential motives as well as acquired
motives, in the form of drives (both primary and secondary drives; [ 30 ]). Within the
MS, different motives (drives), such as achievement and recognition , affiliation and
belongingness , and similance , exist and may be activated by situations [ 30 ]. There-
fore, with CLARION, it is possible to explore effects of motivation on creativity,
including effects of intrinsic achievement orientation, prosocial tendency, and so on.
There is also an account of emotion within CLARION, largely on the basis of moti-
vation, including capturing a variety of major emotions (e.g., anxiety; [ 39 ]). Thus,
CLARION can also be used to capture the effects of emotion on creativity.
Personality, as extensively studied in personality psychology, is also known to
have a lot to do with creativity. There have been various studies concerning the
effects of personality on creativity. For instance, based on a meta-analysis of data,
Feist [ 11 ] argued that, in general, creative individuals were more open to experi-
ences, less conventional and less conscientious, more self-confident, more driven,
ambitious, and dominant, and so on. There also appeared to be temporal stability of
these distinguishing characteristics among creative individuals. These characteristics
corresponded well with the five-factor model of personality (commonly known as
the Big Five), and their detailed facets (see [ 19 , 35 ]).
Furthermore, Feist and Barron [ 12 ] reported a longitudinal study. At age 27, a
sample of 80 male graduate students was assessed on potential, intellect, personal-
ity, and creativity. At age 72, personality and career outcome data were collected
again. Intellect, potential, and personality at age 27 were expected to predict lifetime
creativity. It was also predicted that personality would explain unique variance in
creativity over and above that explained by intellect and potential. Results supported
these expectations. They concluded that certain personality traits such as openness
to experiences, tolerance, and self-confidence might serve as a relatively direct link
to creative behavior.
The role of personality can be captured within CLARION, as has been shown
before (e.g., [ 34 - 36 ]). As mentioned earlier, the CLARION cognitive architecture
emphasizes four major subsystems, as shown in Fig. 8.1 . These subsystems together
capture various dimensions of human personality, as demonstrated in detail by Sun
and Wilson [ 35 , 36 ]. Among these subsystems, the MS plays an especially important
role in determining personality. The various essential motives within the MS capture
major aspects of personality dimensions, such as the Big Five [ 35 , 36 ]. Various sim-
ulations have been carried out to date to explore the effects of personality dimensions
such as openness to experiences and conscientiousness.
In relation to the role of social interaction in creativity, Ashton-James and Char-
trand [ 3 ] emphasized behavioral mimicry as a social cue for creative thinking. Specif-
ically, beingmimicked by an interaction partner cues convergent thinking and a social
opportunity for collaboration, while not being mimicked cues divergent thinking and
a social demand for improvisation and innovation. They experimentally manipulated
whether individuals were mimicked or not and subsequently measured their capacity