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Awe Enhances Creative Thinking: An Experimental Study

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Title: Awe Enhances Creative Thinking: An Experimental Study
Language: English
Authors: Chirico, Alice, Glaveanu, Vlad Petre, Cipresso, Pietro, Riva, Giuseppe, Gaggioli, Andrea
Source: Creativity Research Journal. 2018 30(2):123-131.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 9
Publication Date: 2018
Document Type: Journal Articles
Reports - Research
Education Level: Higher Education
Descriptors: Creative Thinking, Psychological Patterns, College Students, Creativity Tests, Foreign Countries, Computer Simulation, Statistical Analysis
Geographic Terms: Italy
Assessment and Survey Identifiers: Torrance Tests of Creative Thinking
DOI: 10.1080/10400419.2018.1446491
ISSN: 1040-0419
Abstract: Awe is a complex emotion characterized by feelings of vastness and a need for accommodation. The aim of this study was to investigate whether the experience of awe impacts on peculiar dimensions of creative potential in terms of creative thinking. Fifty-two university students were exposed both to an awe-inducing 3D-video and to a neutral one in a within-subject design. After each video, participants reported the intensity and type of perceived emotion and completed two verbal tasks of the Torrance Tests of Creative Thinking (TTCT; Torrance, 1974). A direct causal relationship between awe and creative thinking was tested using generalized linear model. Results showed that awe affected key creative thinking components--fluency, flexibility and elaboration measured by the product improvement test--compared to the neutral stimulus. Implications of these findings for future research and limitations are discussed.
Abstractor: As Provided
Number of References: 64
Entry Date: 2018
Accession Number: EJ1176770
Database: ERIC
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  Value: <anid>AN0129233982;7lo01apr.18;2018Apr24.10:13;v2.2.500</anid> <title id="AN0129233982-1">Awe Enhances Creative Thinking: An Experimental Study </title> <p>Awe is a complex emotion characterized by feelings of vastness and a need for accommodation. The aim of this study was to investigate whether the experience of awe impacts on peculiar dimensions of creative potential in terms of creative thinking. Fifty-two university students were exposed both to an awe-inducing 3D-video and to a neutral one in a within-subject design. After each video, participants reported the intensity and type of perceived emotion and completed two verbal tasks of the Torrance Tests of Creative Thinking (TTCT; Torrance, 1974). A direct causal relationship between awe and creative thinking was tested using generalized linear model. Results showed that awe affected key creative thinking components—fluency, flexibility and elaboration measured by the product improvement test—compared to the neutral stimulus. Implications of these findings for future research and limitations are discussed.</p> <p></p> <p>still remember my wife and me crying bitterly after his birth. As other parents looked fondly at their new babies, we went to the window to see the ambulance below taking our son from us—perhaps forever. … At this most terrible moment in our young lives, and despite our fears, we felt a strangely overwhelming sense that something magnificent was taking place, that we were being immersed together in something—some process—that was infinitely beyond what we could ever understand, but that we were destined to keep trying. I know now that what we felt was the most intense, wonderful, upsetting, and transcendently terrible of all human emotions: awe. (Pearsall, [<reflink idref="bib38" id="ref1">38</reflink>] , pp. (Introduction): XII-XIII)</p> <p></p> <p>There are some profound and rare experiences able to alter our perception of the world and of ourselves deeply and suddenly (Pearsall, [<reflink idref="bib38" id="ref2">38</reflink>] ; Schneider, [<reflink idref="bib47" id="ref3">47</reflink>] ). This is the case of awe, which is a complex emotion associated with moments of deep and personal change (Schneider, [<reflink idref="bib47" id="ref4">47</reflink>] ). Given the intrinsically composited nature of this emotion, psychology has begun to study it only recently. However, several discoveries have been made regarding awe, especially in the experimental field (e.g., Campos, Shiota, Keltner, Gonzaga, & Goetz, [<reflink idref="bib6" id="ref5">6</reflink>] ; Cohen, Gruber, & Keltner, [<reflink idref="bib12" id="ref6">12</reflink>] ; Keltner & Haidt, [<reflink idref="bib30" id="ref7">30</reflink>] ; Shiota, Keltner, & Mossman, [<reflink idref="bib50" id="ref8">50</reflink>] ; Simon-Thomas, Keltner, Sauter, Sinicropi-Yao, & Abramson, [<reflink idref="bib53" id="ref9">53</reflink>] ; Stellar et al., [<reflink idref="bib54" id="ref10">54</reflink>] ). Most experimental research on awe relied on the reference model of Keltner and Haidt ([<reflink idref="bib30" id="ref11">30</reflink>] ), which posed vastness and need for accommodation as the core appraisals of this emotion. Specifically, this emotion arises in front of “massive” stimuli (pragmatically or conceptually; Silvia, Fayn, Nusbaum, & Beaty, [<reflink idref="bib52" id="ref12">52</reflink>] ; p. 377) able to challenge and expand individuals’ mental frames. Generally, it has been demonstrated that awe can enlarge people’s mental frames (e.g., Rudd, Vohs, & Aaker, [<reflink idref="bib44" id="ref13">44</reflink>] ; Silvia et al., [<reflink idref="bib52" id="ref14">52</reflink>] ; Sung & Yih, [<reflink idref="bib55" id="ref15">55</reflink>] ).</p> <p>By expanding people’s mental frames, awe could also help them find new connections among objects or ideas. Specifically, it was hypothesized that awe could be related to the ability to discover new links among ideas, concepts or objects, that is, to creative thinking, as a measure of creative potential, which can increase the probability to implement creative behavior (Guilford, [<reflink idref="bib24" id="ref16">24</reflink>] ; Torrance, [<reflink idref="bib56" id="ref17">56</reflink>] ). Akin to awe’s cognitive components, creative thinking is the ability to recombine ideas and to find new relationships between them (Guilford, [<reflink idref="bib22" id="ref18">22</reflink>] ; Torrance, [<reflink idref="bib58" id="ref19">58</reflink>] ). It is one of the main layers of creative performance and personal achievement (Runco, Millar, Acar, & Cramond, [<reflink idref="bib46" id="ref20">46</reflink>] ), and one of the core cognitive processes of creativity (Runco & Acar, [<reflink idref="bib45" id="ref21">45</reflink>] ; Torrance, [<reflink idref="bib56" id="ref22">56</reflink>] ). Specifically, the cognitive component of vastness, in the case of awe, was related to the prototypical elicitors of awe, which included grand and vast panorama (Keltner & Haidt, [<reflink idref="bib30" id="ref23">30</reflink>] ; Shiota et al., [<reflink idref="bib50" id="ref24">50</reflink>] ). Taking this into account, it was demonstrated that spaciousness could enhance creative potential (van Rompay & Jol, [<reflink idref="bib62" id="ref25">62</reflink>] ) both self-reported and evaluated by external coders. In this study, it was hypothesized that prototypical vast and grand awe elicitors would be creativity conductive.</p> <p>In addition, in this research, it was assumed that awe could enhance the ability to discover new connections among ideas also due to its need for accommodation component (i.e., the need for updating current mental frames in line with new incoming information). This need would arise from a shift between previous knowledge and the new one (Piaget & Inhelder, [<reflink idref="bib39" id="ref26">39</reflink>] ). In this regard, Ritter et al. ([<reflink idref="bib43" id="ref27">43</reflink>] ) demonstrated that uncommon and unexpected experiences, in which people feel actively involved (i.e., the so-called diversifying experiences) could enhance the ability of finding new links among ideas. Finally, Fong ([<reflink idref="bib16" id="ref28">16</reflink>] ) demonstrated that ambivalent and ambiguous emotional states entailing both negative and positive dimensions were conductive to creativity. Awe, as an ambiguous emotion (Lazarus, [<reflink idref="bib31" id="ref29">31</reflink>] ), could thus enhance creativity. In spite of this potential affinity between awe and creativity, no research has explored their relationship yet. Here, a laboratory study, which examined the relationships between awe and creative potential compared to an emotional neutral content, was presented. To capture the impact of the complex emotion of awe on creativity, the Torrance Tests of Creative Thinking (TTCT; Torrance, [<reflink idref="bib56" id="ref30">56</reflink>] ) was selected as a measure of creative potential. Before presenting the study, existing research on awe as well as on creativity and emotions was reviewed.</p> <hd id="AN0129233982-2">AWE</hd> <p>Awe is a composite emotion that can impact positively on several aspects of individuals’ life (Chirico, Yaden, Riva, & Gaggioli, [<reflink idref="bib11" id="ref31">11</reflink>] ; Shiota et al., [<reflink idref="bib50" id="ref32">50</reflink>] ). At the social level, awe can facilitate the emergence of prosocial behaviors and attitudes toward even unknown others (Prade & Saroglou, [<reflink idref="bib42" id="ref33">42</reflink>] ). At the individual level, this emotion can amplify people’s perception of time (Rudd et al., [<reflink idref="bib44" id="ref34">44</reflink>] ), support spiritual beliefs (Van Cappellen & Saroglou, [<reflink idref="bib60" id="ref35">60</reflink>] ), and affect people’ body image (van Elk, Karinen, Specker, Stamkou, & Baas, [<reflink idref="bib61" id="ref36">61</reflink>] ). Moreover, it was demonstrated that proneness to awe protected against interleukin-6 protein, which is related to the emergence of chronic or depressive disorders (Stellar et al., [<reflink idref="bib54" id="ref37">54</reflink>] ). At a higher level, awe can change peoples’ general perspectives toward the world and themselves (Schneider, [<reflink idref="bib47" id="ref38">47</reflink>] ; Shiota et al., [<reflink idref="bib50" id="ref39">50</reflink>] ; Stellar et al., [<reflink idref="bib54" id="ref40">54</reflink>] ; Valdesolo & Graham, [<reflink idref="bib59" id="ref41">59</reflink>] ). Regarding this latter aspect, most scholars conceived this emotion as one of the mechanisms at the base of human knowledge (i.e., Shiota et al., [<reflink idref="bib50" id="ref42">50</reflink>] ; Silvia [<reflink idref="bib51" id="ref43">51</reflink>] ).</p> <p>Awe arises from stimuli that are so vast (both perceptually and conceptually) as to require an updating of people’s current mental schemas (Keltner & Haidt, [<reflink idref="bib30" id="ref44">30</reflink>] ). Individuals who experienced awe feel the need to accommodate their previous mental frames according to new information, instead of simply assimilating it (Keltner & Haidt, [<reflink idref="bib30" id="ref45">30</reflink>] ). Awe thus contributes to expanding people’ mental frames and can open to new perspectives toward self and others by generating new knowledge that was previously ignored (Schneider, [<reflink idref="bib47" id="ref46">47</reflink>] ; Sung & Yih, [<reflink idref="bib55" id="ref47">55</reflink>] ). At the dispositional level, awe was closely related to the trait of openness to experience (Silvia et al., [<reflink idref="bib52" id="ref48">52</reflink>] ), that is, the more open-mind the person was, the more he or she was prone to experience awe. Indeed, the openness to experience personality trait was found associated to creativity itself (e.g., Agnoli, Franchin, Rubaltelli, & Corazza, [<reflink idref="bib1" id="ref49">1</reflink>] ; Batey, Chamorro-Premuzic, & Furnham, [<reflink idref="bib4" id="ref50">4</reflink>] ; Leung & Chiu, [<reflink idref="bib32" id="ref51">32</reflink>] ; McCrae, [<reflink idref="bib35" id="ref52">35</reflink>] ; Prabhu, Sutton, & Sauser, [<reflink idref="bib41" id="ref53">41</reflink>] ). In this study, it was suggested that this awe potential could be related to the cognitive side of creativity, that is, to creative thinking. Creative thinking is the ability to explore new connections among ideas, finding new possible combinations (Guilford, [<reflink idref="bib23" id="ref54">23</reflink>] , [<reflink idref="bib24" id="ref55">24</reflink>] ; Torrance, [<reflink idref="bib56" id="ref56">56</reflink>] , [<reflink idref="bib58" id="ref57">58</reflink>] ; Torrance, Sprini, & Tomasello, [<reflink idref="bib57" id="ref58">57</reflink>] ). Awe could open new perspectives even on a specific task, thus helping find new possible solutions. In other words, awe can make mental frames more flexible and accommodating.</p> <p>At the same time, awe itself is elicited by vast and grand natural phenomena (e.g., high mountains, tornados, droplets of colored water colliding with a milk; Piff, Dietze, Feinberg, Stancato, & Keltner, [<reflink idref="bib40" id="ref59">40</reflink>] ), distant grand panorama (Shiota et al., [<reflink idref="bib50" id="ref60">50</reflink>] ), as well as abstract vast inductors (i.e., big ideas) (Fredericks, [<reflink idref="bib18" id="ref61">18</reflink>] ; Keltner & Haidt, [<reflink idref="bib30" id="ref62">30</reflink>] ). In this regard, Liberman, Polack, Hameiri, and Blumenfeld ([<reflink idref="bib33" id="ref63">33</reflink>] ) showed that spacious natural images can enhance creative thinking abilities (i.e., fluency and originality) in a sample of high school students ranging from 13 to 15 years old. Here, it was hypothesized that, also, adults’ mental frames can be affected by such spacious stimuli.</p> <p>One of the main hypotheses of our work is that common awe elicitors, such as a forest of tall trees, can enhance the fluency and originality dimensions of creativity also in adults.</p> <p>Despite this emphasis on the concept of vastness, awe includes another relevant component, which is the need for accommodation. This can be defined as the urge to update current mental frames to new knowledge. This need is triggered by an incongruence between what it is known and the new incoming information (Piaget & Inhelder, [<reflink idref="bib39" id="ref64">39</reflink>] ). Ritter et al. ([<reflink idref="bib43" id="ref65">43</reflink>] ) demonstrated that uncommon and unexpected experiences, in which people feel actively involved (i.e., the so-called diversifying experiences), enhanced one of the main component of creativity, that is, cognitive flexibility (i.e., the ability to discover new associations between ideas; Guilford, [<reflink idref="bib24" id="ref66">24</reflink>] ; Torrance, [<reflink idref="bib58" id="ref67">58</reflink>] ). In this study, participants were exposed to stimuli intended to induce an extremely engaging and unusual emotion, that is awe. It was hypothesized that awe could enhance flexibility dimensions of creativity due to the diversifying nature of it basic mechanism, that is, the need for accommodation.</p> <p>Finally, awe is considered as a complex emotion entailing a double valence. Specifically, according to the reference model of Keltner and Haidt ([<reflink idref="bib30" id="ref68">30</reflink>] ), different flavors of awe (i.e., threat, beauty, ability, virtue; supernatural causality) exist and depend on specific awe elicitors. Researches drawing from their model conceived awe consequently. Some treated awe as a positive emotion (Campos et al., [<reflink idref="bib6" id="ref69">6</reflink>] ; Griskevicius, Shiota, & Neufeld, [<reflink idref="bib21" id="ref70">21</reflink>] ; Shiota, Campos, & Keltner, [<reflink idref="bib48" id="ref71">48</reflink>] ; Shiota, Keltner, & John, [<reflink idref="bib49" id="ref72">49</reflink>] ). Others conceived the negative valence of awe as a special case of this emotion (Gordon et al., [<reflink idref="bib20" id="ref73">20</reflink>] ; Piff et al., [<reflink idref="bib40" id="ref74">40</reflink>] ). However, a recent research on awe demonstrated that it has not a defined and univocal valence, at least regarding the microfacial valence components of this emotion (Chirico, Cipresso, & Yaden, et al., [<reflink idref="bib9" id="ref75">9</reflink>] ). Here, awe-inducing stimuli were considered, in which the positive and the negative affect components were pretested to reach a balance, to reproduce the genuine ambiguous nature of this emotion even in a laboratory setting (Chirico, Cipresso, & Gaggioli, [<reflink idref="bib8" id="ref76">8</reflink>] , [<reflink idref="bib7" id="ref77">7</reflink>] ).</p> <hd id="AN0129233982-3">CREATIVITY AND EMOTIONS</hd> <p>The interest in the relationship between awe and creativity is rooted in the wider and well-established field of emotion and creativity (Baas, De Dreu, & Nijstad, [<reflink idref="bib3" id="ref78">3</reflink>] ; Kaufmann & Vosburg, [<reflink idref="bib29" id="ref79">29</reflink>] ; Lin, Tsai, Lin, & Chen, [<reflink idref="bib34" id="ref80">34</reflink>] ). Specifically, researchers have focused on how emotions could enhance different creativity components (Baas et al., [<reflink idref="bib3" id="ref81">3</reflink>] ; Lin et al., [<reflink idref="bib34" id="ref82">34</reflink>] ). In spite of the multifaceted nature of creativity, at the assessment level, most researchers drew from the model of Paul Torrance ([<reflink idref="bib56" id="ref83">56</reflink>] , [<reflink idref="bib58" id="ref84">58</reflink>] ) focused on creative potential. According to this model, creativity includes four main underlying dimensions, that are: fluency (the number of ideas generated), flexibility (generation of different ideational approaches or categories), originality (generation of uncommon ideas), and elaboration (how well detailed are the products). A detailed meta-analysis, carried out by Baas et al. ([<reflink idref="bib3" id="ref85">3</reflink>] ), grouped Torrance’s dimensions into three categories (fluency, cognitive flexibility, and originality) to analyze the impact of emotional factors on creativity, also due to the problematic nature of the dimension of elaboration (Cramond, Matthews-Morgan, Bandalos, & Zuo, [<reflink idref="bib13" id="ref86">13</reflink>] ). They evidenced that the specific combinations of hedonic tune (i.e., emotional valence), activation (i.e., activating or deactivating states), and regulatory focus (i.e., prevention or promotion self-regulation focus; Higgins, [<reflink idref="bib25" id="ref87">25</reflink>] ; Idson, Liberman, & Higgins, [<reflink idref="bib27" id="ref88">27</reflink>] ) could enhance specific dimensions of creativity. They also found that, generally, positive and activating moods, compared with neutral ones, increased mainly cognitive flexibility component. Moreover, fear and anger (i.e., negative moods) were related to increased originality and fluency, but not with cognitive flexibility. Despite the relevance of these results, the authors highlighted a literature bias related to the overinvestigation of some moods, compared to others (e.g., happiness, sadness, relaxation). Moreover, Baas et al. ([<reflink idref="bib3" id="ref89">3</reflink>] ) considered only studies which focused on basic emotions or moods.</p> <p>Adding to this area of study, a recent work of Jovanovic, Meinel, Schrödel, and Voigt ([<reflink idref="bib28" id="ref90">28</reflink>] ) highlighted the need to study the interaction between positive and negative emotional states, which occur not only subsequently (Bledow, Rosing, & Frese, [<reflink idref="bib5" id="ref91">5</reflink>] ) but also simultaneously (Fong, [<reflink idref="bib16" id="ref92">16</reflink>] ). Fong ([<reflink idref="bib16" id="ref93">16</reflink>] ) focused on the workplace domain to investigate the relationship between ambiguous emotional affects and creativity. According to the informational approaches on emotions (Forgas, [<reflink idref="bib17" id="ref94">17</reflink>] ), Fong postulated that emotional ambivalence provides information about an environment. The unusual association between opposite emotions indicates that a person is an environment in which other atypical relationships can occur. In other words, according to Fong ([<reflink idref="bib16" id="ref95">16</reflink>] ), ambivalent emotions should make people more sensitive to unusual associations, thus enhancing their cognitive flexibility. They demonstrated that emotionally ambivalent events, which were perceived also as unusual, facilitated unusual associations in the subsequent remote associates task (Mednick, [<reflink idref="bib36" id="ref96">36</reflink>] ).</p> <p>Awe can be considered a prototypical case of ambivalent emotion (Chirico et al., [<reflink idref="bib9" id="ref97">9</reflink>] ; Lazarus, [<reflink idref="bib31" id="ref98">31</reflink>] ). Here, it was suggested that also awe’s ambivalent nature could contribute to make people more sensitive to new and uncommon relationship among ideas and object, thus impacting on their cognitive flexibility.</p> <p>However, no study has addressed yet the relationship between awe and creativity.</p> <hd id="AN0129233982-4">THIS RESEARCH: AWE AND CREATIVITY IN VIRTUAL REALITY</hd> <p>In this research, we examined the role of intense experiences of awe elicited with the help of a new advanced emotion induction technique, virtual reality (VR), in enhancing creativity. It was hypothesized that the processes underlying awe (i.e., the two components of vastness and need for accommodation), as well as its emotionally ambiguous nature, could improve creative performance.</p> <p>We sought to extend past works in two main ways. Nearly all research on emotions and creativity have considered only basic emotions or general affective states (Baas et al., [<reflink idref="bib3" id="ref99">3</reflink>] ). However, emotions are often blended in real-life experiences and lead to the emergence of complex emotional states (Jovanovic et al., [<reflink idref="bib28" id="ref100">28</reflink>] ), such as awe. Hence, studying the awe-creativity link could improve both ecological validity of experimental studies in this field, and it can bring evidence about the causal links between awe and creativity for the first time.</p> <p>Second, to assess the generality of awe’s relationship with creativity, the participants were exposed to a potentially awe-inspiring content using a new emotion-induction procedure: VR. VR has been suggested as a potential way to induce higher intensity awe in the lab. This aspect is relevant because it has been noted that low-level emotional states did not impact on creativity as much as moderate ones: An optimal level of activation is needed for an emotional state to actually impact creativity (Davis, [<reflink idref="bib14" id="ref101">14</reflink>] ). Therefore, the intensity component can be crucial for the investigation of awe-creativity link. In this regard, as Westermann, Stahl, and Hesse ([<reflink idref="bib64" id="ref102">64</reflink>] ) demonstrated, mood-induction procedures differ regarding their ability to induce specific moods. Some procedure led to greater intensity longer-lasting emotional states than others. Specifically, Ellard, Farchione, and Barlow ([<reflink idref="bib15" id="ref103">15</reflink>] ) argued that it exists a suitable procedure for each specific emotional state, thus impacting on the quality of the experience itself.</p> <p>Therefore, the emotion-induction procedure needs to be considered carefully when it comes to studying the impact of specific emotions on creativity. Emotion-induction procedures eliciting low or very high levels of the target emotion might not help us detect a relationship with creativity, even if one does exist.</p> <p>Here, VR was used because it has proved to be an effective emotion-induction procedure, able to elicit awe in the lab (Chirico et al., [<reflink idref="bib11" id="ref104">11</reflink>] ; Chirico, Cipresso, & Yaden, et al., [<reflink idref="bib9" id="ref105">9</reflink>] ). The use of VR can help researchers provide an optimal emotional state by manipulating the intensity level of awe in a laboratory setting.</p> <p>Indeed, inducing intense instances of awe is a crucial issue within awe experimental field (Silvia et al., [<reflink idref="bib52" id="ref106">52</reflink>] ). In this research, participants were exposed to two validated VR contents. The first was an awe-inducing content (i.e., displaying a scene of tall trees) and the second displayed a neutral content (i.e., hens wandering). Finally, after watching each video, participants were required to complete two questionnaires on emotions and specifically on awe, and two verbal subtests of the TTCT (Torrance, [<reflink idref="bib56" id="ref107">56</reflink>] ).</p> <hd id="AN0129233982-5">METHOD</hd> <hd id="AN0129233982-6">Sample and Participants Selection</hd> <p>The sample consisted of 52 adults (26 women and 26 men) from Lombardy, region of Italy, who voluntarily took part in the research. The sample was young (mean age = 24.9; SD = .214) with an average number of years in education of 16.83 (SD = 2.587). Ten participants were workers; among them, 5 were also students. The remaining participants were only students. Fifty-one participants were unmarried and only one was married.</p> <p>All participants were resident in Lombardy, a region of Italy. Participants who (at the time of the experiment) reported vestibular and/or balance disorders were excluded. The experimental protocol was approved by the Ethical Committee of the Università Cattolica del Sacro Cuore prior to data collection. Each participant provided written informed consent for study participation. The whole procedure was carried out in accordance with the Helsinki Declaration.</p> <hd id="AN0129233982-7">Materials and Methods</hd> <p>Participants were placed in an isolated room, gave consent, and completed demographics. Participants then put on a VR head-mounted display (Gear VR) combined with a smartphone (i.e., Galaxy Note 4), and they were provided with standardized instructions about how to make each video start using this VR device. After the participants had worn Gear VR, and had fixed the arrow button (to make the video start) the experimenter touched the lateral pad and the video started. Each participant watched both videos individually and in a counterbalanced order. The awe-inducing video depicted a scene of tall trees inspired from the experiment of Piff et al. ([<reflink idref="bib40" id="ref108">40</reflink>] ). The neutral video showed hens wandering in the grass, and it was used a contrast condition in line with previous studies (e.g., Griskevicius et al., [<reflink idref="bib21" id="ref109">21</reflink>] ; Prade & Saroglou, [<reflink idref="bib42" id="ref110">42</reflink>] ).</p> <p>Each video lasted 2 min and was made up of these subsections: (a) black screen lasting 6,000 ms, (b) a sound (lasting 500 ms) allowing the experimenter to know that the video started, (c) black screen appearing 8,000 ms after the sound, and (d) first scene appearing 14,000 seconds after the beginning of the whole video. KolorEye App was used to display videos on a 360° screen, by using the function “360°” (for 360° immersive spherical display). Kolor Eyes 1.5 App is a free 360° video player for Windows, Mac, HTML5, iOS and Android.</p> <p>We conducted a separate pilot study to ensure that the two content conditions induced the target emotions.</p> <p>In the pilot study, 36 participants watched four video contents: (a) amusing, (b) awe-inspiring showing a grand vista on the mountains, (c) awe-inspiring depicting a scene of tall trees in a forest, and (d) neutral (hens wandering on grass). Each of the aforementioned videos was created ad hoc by using ShotCut video-editing free online tool (for further details, please see Chirico et al., [<reflink idref="bib8" id="ref111">8</reflink>] ). Participants were required to rate the extent to which they experienced several different emotional states using single items (1 = not at all, 7 = extremely): anger, disgust, fear, pride, sadness, joy, amusement, and awe. The pilot study revealed that awe-inspiring video depicting a scene of tall trees in a forest was the most effective one, and that neutral content acted as a suitable contrast condition to analyze awe intensity. A Wilcoxon-Signed Rank test indicated that awe-inducing video displaying tall trees and awe-inducing video displaying high mountains induced the highest levels of awe compared to the amusing video (tall trees vs. amusement: Z = −4.100; p < 0.001; high mountains vs. amusement: Z = −3.999; p < 0.001) and to neutral one (tall trees vs. neutral: Z = −4.840; p < 0.001; high mountains vs. neutral: Z = −4.861; p < 0.001). At the same time, amusing video and neutral one did not induce a significantly different level of awe (Z = −2.337; p = 0.02).</p> <p>In this research, after each video, participants again reported the extent to which they experienced the aforementioned eight emotions using single items (from 1 = not at all to 7 = extremely) (Chirico, Ferrise, Cordella, & Gaggioli, [<reflink idref="bib10" id="ref112">10</reflink>] ). At the same time, they reported they level of vastness and need for accommodation (i.e., components of awe) on a 7-point Likert scale (Chirico, Cipresso, & Yaden, et al., [<reflink idref="bib9" id="ref113">9</reflink>] ).</p> <p>Finally, after each video, participants completed the Italian version of the subtest 4 (i.e., product improvement) and 5 (i.e., unusual uses) of the TTCT (Torrance, [<reflink idref="bib56" id="ref114">56</reflink>] ; Torrance et al., [<reflink idref="bib57" id="ref115">57</reflink>] ). Each of these subtests was scored for fluency, originality, and flexibility. The whole experiment lasted about 45 min.</p> <hd id="AN0129233982-8">RESULTS</hd> <hd id="AN0129233982-9">Preliminary Data Analysis</hd> <p>Two normality tests (i.e., Kolmogorov-Smirnov and Shapiro-Wilk) were carried out to determine if variables were normally distributed. Because this condition was not satisfied, a Wilcoxon Signed Rank test for each of the creativity dimensions and awe components was carried out, in order to test the effect of awe (vs. neutral stimulus) on creativity.</p> <hd id="AN0129233982-10">Discriminant Ability of Each Stimulus</hd> <p>Results showed that awe-inducing video resulted in a significantly higher score of awe (Mdn = 6.00) than the neutral one (Mdn = 3.00, Z = −5.479, p < .001)], with a large effect size (r<sups>2</sups> = 0.760). Descriptive statistics of each emotion induced by Awe and Neutral inducing stimuli is reported in Table 1. Moreover, to test the hypothesis that single awe components of vastness and need for accommodation are equal across condition, a dependent sample t-test was performed. Because each variable resulted as normally distributed, a dependent t-test was carried out. Results showed statistically significant differences in vastness, t(<reflink idref="bib51" id="ref116">51</reflink>) = 12.691, p < .001, and need for accommodation, t(<reflink idref="bib51" id="ref117">51</reflink>) = 3.334, p < .001, dimensions of awe across the two conditions. Participants reported a significantly higher sense of vastness in the awe condition (mean = 4.52; SD = 1.045) compared to the neutral one (mean = 2.6; SD = 1.50). At the same time, also the perception of the need for accommodation was significantly higher in the awe condition (mean = 2.82; SD = 1.356) than in the neutral one (mean = 2.26; SD = 1.058).</p> <p>Anger, disgust, fear, pride, amusement, sadness, joy and awe descriptive statistics in the awe and neutral condition</p> <p> <ephtml> <table border="1" cellpadding="7"><tr><td /><td align="center" colspan="2">Awe Condition</td><td align="center" colspan="2">Neutral Condition</td><td align="center" /><td align="center" /></tr><tr><td>Measure</td><td align="center">M</td><td align="center">SD</td><td align="center">M</td><td align="center">SD</td><td align="center">Z</td><td align="center">p</td></tr><tr><td>Anger</td><td>1.56</td><td>1.127</td><td>1.83</td><td>1.382</td><td>-−1.231</td><td>.218</td></tr><tr><td>Disgust</td><td>1.33</td><td>1.004</td><td>2.35</td><td>1.725</td><td>−3.761</td><td><.001</td></tr><tr><td>Fear</td><td>2.13</td><td>1.534</td><td>2.02</td><td>1.393</td><td>−2.10</td><td>.834</td></tr><tr><td>Pride</td><td>2.27</td><td>1.548</td><td>1.79</td><td>1.362</td><td>−2.614</td><td>.009</td></tr><tr><td>Amusement</td><td>3.77</td><td>1.926</td><td>3.94</td><td>2.033</td><td>−8.57</td><td>.392</td></tr><tr><td>Sadness</td><td>1.83</td><td>1.491</td><td>1.77</td><td>1.409</td><td>−1.99</td><td>.842</td></tr><tr><td>Joy</td><td>4.48</td><td>1.925</td><td>2.92</td><td>1.877</td><td>−3.692</td><td><.001</td></tr><tr><td>Awe</td><td>5.87</td><td>1.138</td><td>3.38</td><td>2.097</td><td>−5.479</td><td><.0001</td></tr></table> </ephtml> </p> <p>Note. n = 52. Emotions scores were not all normally distributed. Therefore, a Wilcoxon Signed Rank test was carried out to compare each emotion level between awe and neutral condition.</p> <hd id="AN0129233982-11">Awe and Creativity</hd> <p>Did the awe-inspiring video induce higher creativity levels than the neutral one? Awe versus neutral videos’ creativity levels for each of the creativity subcomponents (i.e., fluency, flexibility, originality, elaboration) and regarding each subtest (i.e., product improvement and unusual uses) were compared. Table 2 shows descriptive statistics concerning creativity scores for product improvement subtest and unusual uses subtest.</p> <p>Creativity scores for each condition: Descriptive statistics of fluency, flexibility, originality and elaboration, for each creativity subtest (i.e., Product improvement and unusual uses)</p> <p> <ephtml> <table border="1" cellpadding="5"><tr><td align="center" /><td align="center" colspan="2">Rating</td><td align="center" /><td align="center" /></tr><tr><td>TTCT Subtest</td><td align="center">Condition</td><td align="center">Creativity dimension</td><td align="center">M</td><td align="center">SD</td></tr><tr><td>Product Improvement</td><td>Awe</td><td>Fluency</td><td>8.096</td><td>6.678</td></tr><tr><td>Product Improvement</td><td>Neutral</td><td>Fluency</td><td>5.096</td><td>3.942</td></tr><tr><td>Unusual Uses</td><td>Awe</td><td>Fluency</td><td>9.442</td><td>7.185</td></tr><tr><td>Unusual Uses</td><td>Neutral</td><td>Fluency</td><td>5.211</td><td>4.629</td></tr><tr><td>Product Improvement</td><td>Awe</td><td>Flexibility</td><td>6.461</td><td>3.178</td></tr><tr><td>Product Improvement</td><td>Neutral</td><td>Flexibility</td><td>4.230</td><td>2.798</td></tr><tr><td>Unusual Uses</td><td>Awe</td><td>Flexibility</td><td>7.038</td><td>3.990</td></tr><tr><td>Unusual Uses</td><td>Neutral</td><td>Flexibility</td><td>3.846</td><td>2.851</td></tr><tr><td>Product Improvement</td><td>Awe</td><td>Elaboration</td><td>12.596</td><td>10.496</td></tr><tr><td>Product Improvement</td><td>Neutral</td><td>Elaboration</td><td>7.307</td><td>5.939</td></tr><tr><td>Unusual Uses</td><td>Awe</td><td>Elaboration</td><td>11.980</td><td>8.555</td></tr><tr><td>Unusual Uses</td><td>Neutral</td><td>Elaboration</td><td>6.462</td><td>6.082</td></tr><tr><td>Product Improvement</td><td>Awe</td><td>Originality</td><td>12.500</td><td>10.617</td></tr><tr><td>Product Improvement</td><td>Neutral</td><td>Originality</td><td>6.212</td><td>6.007</td></tr><tr><td>Unusual Uses</td><td>Awe</td><td>Originality</td><td>11.481</td><td>8.164</td></tr><tr><td>Unusual Uses</td><td>Neutral</td><td>Originality</td><td>5.019</td><td>4.957</td></tr></table> </ephtml> </p> <p>Note. n = 52.</p> <p>We carried out a Wilcoxon-Signed Ranks Test to compare creativity subcomponents levels (i.e., fluency, flexibility, originality and elaboration) between the awe-inducing and the neutral condition, and regarding each creativity subtest.</p> <p>Results showed that awe-inspiring video induced significantly higher levels of fluency (Z = −2.696; p < 0.001; r = 0.374), flexibility (Z = −3.782; p < 0.001; r = 0.524), originality (Z = −4.402; p < 0.001; r = 0.610) and elaboration (Z = −3.233; p = 0.001; r = 0.448) in product improvement subtest, compared with the neutral video. At the same time, awe inspiring video induced significantly higher levels of fluency (Z = −3.571; p < 0.001; r = 0.495), flexibility (Z = −4.541; p < 0.001; r = 0.629), originality (Z = −5.357; p < 0.001; r = 0.742) and elaboration (Z = −3.778; p = 0.001; r = 0.523) also in unusual uses subtest, compared with the neutral video.</p> <p>Finally, to test the causal relationship between creativity and awe, a generalized linear model was carried out which does not assume, necessarily, a normal distribution of variables and can accept a violation of sphericity (Agresti & Kateri, [<reflink idref="bib2" id="ref118">2</reflink>] ). Because the hypotheses were based on the single dimensions of awe (i.e., vastness and need for accommodation), as well as on the global measure of awe, the model tested included awe, need for accommodation, and vastness measures for predicting each creativity dimension for both subtests. All models tested are reported here Table 3.</p> <p>Generalized linear model statistics</p> <p> <ephtml> <table border="1" cellpadding="11"><tr><td /><td align="center" /><td align="center" colspan="3">Vastness</td><td align="center" colspan="3">Need for Accommodation</td><td align="center" colspan="3">Awe Global</td></tr><tr><td>TTCT Subtest</td><td align="center">Creativity dimension</td><td align="center">B</td><td align="center">χ<sup>2</sup></td><td align="center">Sign.</td><td align="center">B</td><td align="center">χ<sup>2</sup></td><td align="center">Sign.</td><td align="center">B</td><td align="center">χ<sup>2</sup></td><td align="center">Sign.</td></tr><tr><td>Product Improvement</td><td>Fluency</td><td>−1.890</td><td>3.019</td><td>p = .08</td><td>−0.269</td><td>0.129</td><td>p = .719</td><td>2.07</td><td>5.634</td><td><.05</td></tr><tr><td>Product Improvement</td><td>Flexibility</td><td>−.575</td><td>1.193</td><td>p = .275</td><td>-−0.189</td><td>−0.273</td><td>p = .6001</td><td>.900</td><td>4.514</td><td><.05</td></tr><tr><td>Product Improvement</td><td>Elaboration</td><td>−2.602</td><td>2.215</td><td>p = .137</td><td>.052</td><td>.002</td><td>p = .966</td><td>2.792</td><td>3.938</td><td><.05</td></tr><tr><td>Product Improvement</td><td>Originality</td><td>−1.770</td><td>.970</td><td>p = .325</td><td>−0.219</td><td>.031</td><td>p = .860</td><td>2.280</td><td>2.487</td><td>p = .115</td></tr><tr><td>Unusual Uses</td><td>Fluency</td><td>−1.087</td><td>.813</td><td>p = .367</td><td>−.875</td><td>1.111</td><td>p = .292</td><td>.545</td><td>.316</td><td>p = .574</td></tr><tr><td>Unusual Uses</td><td>Flexibility</td><td>−0.199</td><td>.088</td><td>p = .767</td><td>−.675</td><td>2.136</td><td>p = .144</td><td>.129</td><td>.057</td><td>p = .812</td></tr><tr><td>Unusual Uses</td><td>Elaboration</td><td>−1.124</td><td>.589</td><td>p = .443</td><td>−.480</td><td>.227</td><td>p = .634</td><td>.655</td><td>.308</td><td>p = .579</td></tr><tr><td>Unusual Uses</td><td>Originality</td><td>−.897</td><td>.412</td><td>p = .512</td><td>−.588</td><td>.373</td><td>p = .541</td><td>.482</td><td>.183</td><td>p = .668</td></tr></table> </ephtml> </p> <p>Note. n = 52.</p> <p>The global measure of awe resulted a significant predictor of fluency, flexibility and elaboration for product improvement subtest. Originality was not affected by awe. Creativity dimensions of unusual uses subtest were not significantly affected by perceived awe.</p> <hd id="AN0129233982-12">DISCUSSION</hd> <p>This research examined the impact of awe on creativity using an advanced emotion-induction procedure: immersion within VR. Awe is a complex emotion that is difficult to reproduce or induce in laboratory settings. However, the existing literature highlighted that only an optimal emotional intensity level could impact creativity (Davis, [<reflink idref="bib14" id="ref119">14</reflink>] ). Because it was demonstrated that VR can enhance the level of awe even in the lab (Chirico, Cipresso, & Gaggioli, [<reflink idref="bib8" id="ref120">8</reflink>] ), VR was introduced to maximize the probability to detect the effect of this emotion on creativity, if one actually existed. Specifically, it was hypothesized that due to awe cognitive appraisal and ambivalent emotional valence, this emotion could impact creativity.</p> <p>These hypotheses were partially supported by the findings. Awe-inducing condition was followed by a higher level of creativity than the neutral (control) condition. With respect to previous research contrasting emotions with a neutral content (Baas et al., [<reflink idref="bib3" id="ref121">3</reflink>] ), it was found that awe affected key creativity components—fluidity, flexibility, and elaboration measured by the product improvement subtest—compared to the neutral stimulus. This could be a further instance supporting a more integrative approach toward creativity-emotion link. It could be useful to carry on the study of other complex emotions, as it has successfully been done with nostalgia (Holak & Havlena, [<reflink idref="bib26" id="ref122">26</reflink>] ; van Tilburg, Sedikides, & Wildschut, [<reflink idref="bib63" id="ref123">63</reflink>] ), to investigate the impact of simultaneous emotions on human cognitive processes. This would reconnect experimental study of emotions to their real-life occurrence. At a higher level, it was shown that inducing awe positively influenced creative thinking.</p> <p>The experimental design and our results are preliminary; however, the implications of this study are more extensive. First, this is the first study explicitly investigating the relationships between awe and creativity, suggesting the existence of a causal link. This contributed to improving knowledge about the role of this complex emotion, which includes other emotional subcomponents (i.e., joy, sadness, fear), on creativity emergence. Indeed, emotions are usually blended in real life, and it is rare to live only a pure emotion alone. However, research has focused mainly on moods or single discrete emotional states (Davis, [<reflink idref="bib14" id="ref124">14</reflink>] ). Experimental psychology has long considered emotions as moods or single discrete emotional states, and this led to increasing the gap with reality. On the other hand, organizational psychology attempted to reduce this gap by introducing concepts such as simultaneous, mixed, and ambivalent emotional states (Fong, [<reflink idref="bib16" id="ref125">16</reflink>] ; Jovanovic et al., [<reflink idref="bib28" id="ref126">28</reflink>] ). However, the prototypical case of the complex and ambivalent emotion of awe has not been considered yet.</p> <p>This is the first study that addressed, explicitly, the link between this emotion and creativity. Given the complex nature of both these processes, a suitable technique able to control for the impact of awe on creativity was required.</p> <p>Indeed, other disciplines, such as environmental psychology, have focused on the effects of spacious stimuli in enhancing creativity (van Rompay & Jol, [<reflink idref="bib62" id="ref127">62</reflink>] ), or on the impact of schema violation on creativity (Ritter et al., [<reflink idref="bib43" id="ref128">43</reflink>] ). However, VR can allow integrating all these previous manipulations, thus inducing an intense version of the complex emotion of awe in a safe and controlled setting (Chirico et al., [<reflink idref="bib11" id="ref129">11</reflink>] ). For instance, the degree of schema violation could be manipulated along with the level of vastness, thus exploring their impact on creativity dimensions. VR is a source of paradoxical experiences, as Ritter and colleagues ([<reflink idref="bib43" id="ref130">43</reflink>] ) demonstrated. It is possible to combine this potential with the spatial dimension of VR to explore the weight of each of these components on awe emergence and on a subsequent creativity task. Finally, VR allows for inducing a quite intense and ambivalent version of awe, which is closer to awe in the real life (Chirico, Cipresso, & Yaden, et al., [<reflink idref="bib9" id="ref131">9</reflink>] ). This allows for carefully managing and exploring this complex feeling, even in a controlled setting. In other words, since awe is a delicate emotion entailing intense mixed emotional components (especially a component of fear), it requires a special technique to be safely induced. VR can be this technique.</p> <hd id="AN0129233982-13">Limitations</hd> <p>Despite the potential of awe in enhancing creativity, some limitations exist. This study could be improved mainly in four ways. First, the effect of other potential intervenient emotions on creativity was carefully controlled by adding a neutral condition. With this regard, the contents of the two videos were comparable. They both displayed natural scenes, either of tall trees or of hens wandering. However, only a neutral and an awe-inspiring content were considered, and it could be relevant to compare awe-contents with stimuli conveying positive or negative emotions. This would evidence the creative potential of awe as a complex emotion, with respect to other basic emotions with a defined valence. For instance, future studies could proceed by contrasting the effect of awe with other negatively and positively valenced emotions, such as amusement or pride. This would allow controlling for the effect of other potentially intervenient variables.</p> <p>Second, the sample size was small, therefore, it could be useful to test the awe-creativity link with a larger sample. More, the focused was oriented toward a measure of creative potential, which is creative thinking, but it could be interesting to investigate the impact of awe on creativity in terms of performance (e.g., O’Quin & Besemer, [<reflink idref="bib37" id="ref132">37</reflink>] ).</p> <p>Finally, it was considered a specific natural awe-inducing content (i.e., tall trees), in line with literature on this emotion. However, it could be useful also to take into account if different scenarios, such as abstract environments, or interactional awe-inspiring experiences, where more people navigate the same environment, could impact similarly on creativity.</p> <hd id="AN0129233982-14">Future Research</hd> <p>This study makes a first contribution to an emerging field of research in creativity studies—the relationship between awe and other complex emotions and creative thinking—and, in the future, several other domains of creativity could be included, such as music, education, sports. Awe could be used to enhance creativity in different domains, and this is an open empirical question with great practical consequences. VR was previously used to address the relationship between paradoxical situations and creativity (Ritter et al., [<reflink idref="bib43" id="ref133">43</reflink>] ). However, no one focused on intense complex emotions and creativity. One reason could be an ethical concern (i.e., sometimes awe can be a disruptive emotional state) and the difficult to induce intense blended emotional states into controlled settings. Virtual Reality can help address both issues by opening a new field of analysis on the emotion-creativity link.</p> <p>An overall implication of this research could be to bring awe back to the everyday contexts of participants and develop guidelines for translating these initial research findings into actual creative performance. With this regard, a further step could be to assess creative performance and not only participants’ creative potential.</p> <p>At a theoretical level, it is important for future works to explore the reasons why experiences of awe enhance creative thinking. The common conceptual explanation found in the literature postulates the combined effect of perceiving vastness and the need for accommodation. However, it would be useful in subsequent studies to include other potential mediators of the impact of awe on creativity. To this aim, also alternative theoretical frameworks should also be explored. For instance, Glaveanu ([<reflink idref="bib19" id="ref134">19</reflink>] ) recently proposed that wonder can stimulate creativity but placing people in a meta-position, one from which multiple perspectives on the world become available. Experiences of awe could, in fact, help people adopt such a meta-position and, in effect, stimulate wonder and the exploration of new ideas. 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  Data: Awe is a complex emotion characterized by feelings of vastness and a need for accommodation. The aim of this study was to investigate whether the experience of awe impacts on peculiar dimensions of creative potential in terms of creative thinking. Fifty-two university students were exposed both to an awe-inducing 3D-video and to a neutral one in a within-subject design. After each video, participants reported the intensity and type of perceived emotion and completed two verbal tasks of the Torrance Tests of Creative Thinking (TTCT; Torrance, 1974). A direct causal relationship between awe and creative thinking was tested using generalized linear model. Results showed that awe affected key creative thinking components--fluency, flexibility and elaboration measured by the product improvement test--compared to the neutral stimulus. Implications of these findings for future research and limitations are discussed.
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