Are openness and intellect distinct aspects of openness to experience? A test of the O/I model.

By Emily C. Nusbaum, Paul J Silvia. 2011

104 citations recorded by the source corpus.

The Openness/Intellect (O/I) model proposes that Openness to Experience has two major facets—Openness and Intellect—that can be measured with the Big Five Aspect Scales (BFAS). Thus far, however, research has not shown distinct, unique relationships between the Openness and Intellect aspects and other outcomes. The present research evaluated the relationships between Openness and Intellect with two outcomes: creative behavior and achievement (conceptually closer to Openness) and fluid intelligence (conceptually closer to Intellect). Young adults completed the BFAS, several measures of fluid intelligence, and several measures of creative achievement. Latent variable models indicated that the Openness aspect significantly predicted creativity but not fluid intelligence; the Intellect aspect, in contrast, significantly predicted fluid intelligence but not creativity. The findings thus offer support for the validity of the O/I model.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/d0e97d9b9ef044060b4cbccc5a507c4c69257bbc

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Citations in the corpus

Ready, Set, Create: What Instructing People to "Be Creative" Reveals About the Meaning and Mechanisms of Divergent Thinking (2014, methodology): “Concerning mechanisms, we contend that the be-creative effect reveals the controlled and strategic character of effective divergent thinking and thus informs the ongoing controversy about executive aspects of creativity (Kim, 2005; Nusbaum & Silvia, 2011a).”
Making creative metaphors: The importance of fluid intelligence for creative thought (2012, methodology): “From our perspective on intelligence and creative cognition, however, one would expect substantial contributions of fluid and executive abilities (Nusbaum & Silvia, 2011a).”
Why do ideas get more creative across time? An executive interpretation of the serial order effect in divergent thinking tasks. (2012, background): “…over attention and cognition ( Benedek, Bergner, Könen, Fink, & Neubauer, 2011; De Dreu, Nijstad, Bass, Wolsink, & Roskes, 2012; Fink et al., 2009; Nusbaum & Silvia, 2011a; Vartanian, 2009; Zabelina & Robinson, 2010; Zabelina, Robinson, Council, & Bresin, 2012), judging and refining initial ideas…”
Is creativity without intelligence possible? A Necessary Condition Analysis (2016, background): “…and consolidating new information in long-termmemory, but also for the fluent retrieval of the stored information: a psychological mechanism crucial for creativity (Nusbaum & Silvia, 2011b) as well as for several other types of fluency: ideational, associational, expressional, verbal, or figural.”
Everyday Creativity in Daily Life: An Experience-sampling Study of “little c” Creativity (2014, background): “In the Openness/Intellect model (DeYoung, Quilty, & Peterson, 2007), one would expect much larger effects for openness than for intellect (Nusbaum & Silvia, 2011).”
Assessment of real-life creativity: The Inventory of Creative Activities and Achievements (ICAA). (2017, background): “Openness to experience is arguably the most consistent predictor of real-life creativity in creativity research (Feist, 1998; Kaufman, 2013; Nusbaum & Silvia, 2011).”
Opening up Openness to Experience: A Four-Factor Model and Relations to Creative Achievement in the Arts and Sciences. (2013, unknown): “…achievement (Carson, Peterson, & Higgins, 2005; King, Walker, & Broyles, 1996; McCrae, 1987; Silvia, Nusbaum, Berg, Martin, & O’Connor, 2009), Nusbaum and Silvia (2011) found that Openness significantly predicted creative achievement but not fluid reasoning, whereas Intellect predicted…”
Openness to experience and awe in response to nature and music: Personality and profound aesthetic experiences. (2015, background): “Even though people high in openness to experience tend to like reflective and unconventional music (Nusbaum & Silvia, 2011b), this category includes many distinct genres, from highbrow genres (e.g., classical, opera, and jazz) to obscure indie and electronic genres (Rentfrow & Gosling, 2003).”