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研究生: 崔昱瑩
Tsui, Yu-Ying
論文名稱: 雙重過程理論下五大人格特質如何調節不同視覺刺激對創造力的影響
How the Big Five Personality Traits Moderate the Impact of Different Visual Stimuli on Creativity Under the Framework of Dual-Process Theory
指導教授: 何俊亨
Ho, Chun-Heng
學位類別: 碩士
Master
系所名稱: 規劃與設計學院 - 工業設計學系
Department of Industrial Design
論文出版年: 2026
畢業學年度: 114
語文別: 英文
論文頁數: 112
中文關鍵詞: 雙重過程理論 、五大人格特質 、創意轉化 、視覺刺激 、創造力歷程
外文關鍵詞: Dual-Process Theory, Big Five Personality Traits, Creative Transformation, Visual Stimuli, Creative Process
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  • 本研究以雙重過程理論為框架,透過兩階段視覺刺激任務,探討五大人格特質對創意轉化歷程之影響。研究邀請 44 名工業設計研究生參與,第一階段以抽象視覺刺激誘發以系統一(System 1)為主導之自由聯想,第二階段以具象產品刺激引導以系統二(System 2)為主導之具體化歷程,並以創意轉化指標量化兩階段之創意變化,採 K-means 集群分析將受試者分為創意提升群、創意中間群與創意下降群,輔以一致性評估技術(CAT)評分及回顧訪談。結果顯示:其一,約四分之三受試者在兩階段間出現明顯位移,顯示創造力並非跨任務穩定之能力,而是隨認知情境變動之歷程;其二,創意轉化類型顯著影響第二階段之新穎性與詳細性,對適用性則無顯著影響;其三,神經質為組間差異最明顯之特質,創意下降群顯著高於其他兩群,嚴謹性亦達顯著,創意提升群顯著高於下降群,開放性則未達顯著;其四,探索性分析觀察到嚴謹性與神經質呈跨階段反向模式——嚴謹性在系統一與創意生成呈負相關、在創意轉化上呈正相關,神經質方向則完全相反。研究結果初步顯示,人格特質對創造力之影響具階段性差異,情緒穩定性(低神經質)為與創意轉化關聯最密切之人格因素。相關發現屬有待驗證之初步觀察,建議未來研究擴大樣本並採縱貫設計進一步檢驗。

    Grounded in Dual-Process Theory, this study employed a two-stage visual stimulus task to investigate the influence of the Big Five personality traits on the creative transformation process. Forty-four industrial design graduate students participated. In Stage 1, abstract visual stimuli were used to elicit System 1–dominated free association; in Stage 2, concrete product stimuli guided System 2–dominated concretization. A creative transformation index was used to quantify creative change across the two stages, and K-means cluster analysis classified participants into a Creative Increase Cluster, a Creative Middle Cluster, and a Creative Decrease Cluster, supplemented by the Consensual Assessment Technique (CAT) for sketch rating and retrospective interviews. The findings are as follows. First, about three-quarters of participants showed pronounced shifts across the two stages, indicating that creativity is not a stable, cross-task ability but a process that varies with cognitive context. Second, creative transformation type significantly affected Stage 2 originality and elaboration, but not usefulness. Third, Neuroticism showed the clearest between-group difference, with the Creative Decrease Cluster scoring significantly higher than the other two clusters; Conscientiousness was also significant, with the Creative Increase Cluster scoring significantly higher than the Decrease Cluster, while Openness was not significant. Fourth, exploratory analysis revealed a cross-stage reversal pattern between Conscientiousness and Neuroticism—Conscientiousness was negatively correlated with creative generation in System 1 but positively correlated with creative transformation, whereas Neuroticism showed the opposite pattern. These findings preliminarily suggest that the influence of personality traits on creativity is stage-dependent, with emotional stability (low Neuroticism) being the trait most closely associated with creative transformation. As these are preliminary and exploratory observations, future research with larger samples and longitudinal designs is recommended for verification.

    摘要 ii SUMMARY iii ACKNOWLEDGEMENTS iv TABLE OF CONTENTS v LIST OF TABLES viii LIST OF FIGURES ix CHAPTER 1 INTRODUCTION 1 1.1 Research Background and Motivation 1 1.2 Research Objectives 4 1.3 Scope and Limitations 5 1.4 Research Hypotheses 6 1.5 Research Framework 7 CHAPTER 2 Literature Review 9 2.1 Applications of Dual-Process Theory in Creativity 9 2.1.1 System 1: The Rapid Mode of Creative Generation 9 2.1.2 System 2: The Planful Mode of Creative Evaluation 10 2.1.3 The Interaction Between System 1 and System 2 10 2.2 The Relationship Between Big Five Personality Traits and Creativity 12 2.3 The Influence of Visual Stimuli on Creativity 18 2.3.1 Types of Visual Stimuli 18 2.3.2 Mechanisms Through Which Visual Stimuli Influence Creativity 19 2.4 The Interaction Between Big Five Personality Traits and Visual Stimuli: An Integrated Dual-Process Theory Explanation 22 2.5 The Importance of the Interaction Between Personality Traits and Visual Stimuli for Creative Generation 26 CHAPTER 3 Research Methodology 29 3.1 Participant Criteria and Pre-test 29 3.2 Experimental Design: Two-Stage Task Design 30 3.2.1 Stage 1: Abstract Visual Stimuli and Creative Generation 30 3.2.2 Stage 2: Concrete Visual Stimuli and Creative Elaboration 32 3.2.3 Task Design and Theoretical Correspondence 33 3.3 Creative Retrospective Reflection 34 3.4 Creativity Assessment: Expert Rating Method (CAT-based) 35 3.5 Analytical Methods 37 CHAPTER 4 Analysis of Creativity Assessment Results 40 4.1 Data Structure and Scoring Procedure 40 4.1.1 Participant Data 40 4.1.2 Assessment Indicators and Stage 1 Indicator Calculation 40 4.1.3 Word Coding Procedure and Stage 1 Indicator Calculation 41 4.1.4 Sketch Scoring Procedure 46 4.2 Descriptive Statistical Analysis 50 4.3 Creative Transformation Analysis 51 4.3.1 Originality Score Standardization 51 4.3.2 Creative Transformation Index Calculation 52 4.3.3 Creative Transformation Type Classification 52 4.3.4 Analysis of Creative Transformation Results 57 4.4 Analysis of Personality Trait Profiles Across Creative Transformation Types 59 4.5 Descriptive Statistics of Stage 2 Creativity Indicators Across Creative Transformation Types 64 4.6 Difference Testing for Creative Transformation Types and Personality Traits 67 4.6.1 Openness Difference Testing 67 4.6.2 Openness × Conscientiousness Personality Combination Matrix Analysis 69 4.7 Difference Testing for Creative Transformation Types and Conscientiousness 71 4.7.1 Descriptive Statistics and Difference Testing 71 4.7.2 Mechanisms Through Which Conscientiousness Facilitates Creative Transformation: Qualitative Evidence 72 4.7.3 The Bidirectional Effects of Conscientiousness: Why Some High-Conscientiousness Participants Still Declined 73 4.7.4 The Cross-Stage Reversal Pattern and Supplementary ANCOVA Analysis 73 4.8 Qualitative Retrospective Interview Analysis 76 4.8.1 Stage 1: Divergent and Intuitive Association 76 4.8.2 Stage 2: Convergent and Structured Thinking 77 4.8.3 Creative Decrease Cluster: Excessive Convergence and Self-Limitation 77 4.8.4 Creative Increase Cluster: Structured Extension and Re-creation 79 4.8.5 Creative Middle Cluster: Stable Transformation Strategy 81 4.8.6 Integrated Analysis 82 CHAPTER 5 Discussion 84 5.1 The Dynamic Nature of the Creative Transformation Process 84 5.2 The Cross-Stage Reversal Pattern of Conscientiousness and Neuroticism 84 5.3 The Bidirectional Effects of Conscientiousness and the Moderating Role of Neuroticism 85 5.4 The Limited Influence of Openness and the Effects of Personality Combinations 86 5.5 Measurement Limitations of the ΔZ Index and Methodological Reflections 87 CHAPTER 6 Conclusion 88 6.1 Research Summary 88 6.2 Theoretical Contributions 88 6.3 Methodological Contributions 89 6.4 Research Limitations and Future Directions 90 6.5 Concluding Remarks 90 REFERENCES 91 Appendix A Second-Stage Sketches of Each Participant 95 A.1 ID 01~06 95 A.2 ID 07~12 96 A.3 ID 13~18 97 A.4 ID 19~24 98 A.5 ID 25~30 99 A.6 ID 31~36 100 A.7 ID 37~42 101 A.8 ID 43~44 102

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