Challenges in determining whether creativity and mental illness are associated

The existence of a relationship between “creativity” and unusual mental states has been speculated on for centuries, with a specific connection of “creativity” to “mental illness” since the 1830s (Becker, 2001). However, controversy remains about whether this relationship exists (e.g., Schlesinger, 2009). The main challenge in supporting this claim is that the statement itself is very general. In addition, there are a number of issues that contribute to unclarity within this literature. One issue is the way in which “creativity” and “mental illness” are discussed. “Creativity” is a broad construct that has been defined and operationalized in various ways across the studies that have attempted to examine it. This variety is due to the fact that creativity is likely composed of various facets (Dietrich and Kanso, 2010), but has often been referred to as if it is a unitary construct (see Glazer, 2009, for discussion). Similarly, “mental illness” is a heterogeneous construct that not only encompasses multiple symptoms and diagnoses but reflects societal and cultural definitions and norms, resulting in changes to diagnostic criteria sets throughout the years. Researchers have tried to answer the question of whether a relationship between “creativity” and “mental illness” exists, but, as would be expected when tackling such a broad question, the approaches of each study have differed. In practice, both “creativity” and “mental illness” have been operationalized in every research study that has tackled this issue by recruiting a particular population and using a specific definition (whether articulated or not) of creativity in order to successfully examine the construct. But after the conclusions have been made, the titles and introductions of the next journal articles on the topic discuss the broad concepts of “creativity and mental illness” and/or cite references that studied one facet of creativity in a population to support an association with another facet of creativity in the same population without an explanation of why a similar finding would be expected. Thus, overlooking the details of what was actually studied in previous papers and drawing support from any study that refers to “creativity” even though it may represent a different facet of creativity makes it difficult to make clear-cut statements about a relationship between creativity and mental illness or even whether such a broad comparison is useful. To foster examination of potential relationships between creativity and mental illness, it would be prudent to use a more systematic approach in which these constructs are made explicit in each study (Prentky, 2001). Given the diverse definitions and measures of creativity employed to date, a given study should focus on one of these definitions, describe why that definition is appropriate for study in a particular population, and use a measure that taps that particular facet of creativity. For example, Glazer (2009) proposed three possible models (1. different types of creativity each associated with a specific psychopathology, 2. creativity as a dimension, and 3. creativity as a unitary construct) for the creativity construct and how each would be associated with psychopathology. Using such a framework (or another that is similarly clearly defined) would expedite the process of answering the question about whether there is a relationship between mental illness and creativity. Another issue that contributes to confusion in the field is the use of various “creativity measures” that measure different facets of creativity across studies. The results of individual studies are often generalized to an overall conclusion about “creativity” without discussion about how these facets may be related to each other. A goal in a given study would be to determine whether and how the creativity facet tested by the primary creativity measure is related to other frequently-used creativity measures, by including multiple measures of creativity. Using multiple creativity measures in one study would provide data for convergent and discriminant validity between the facets of creativity measured in that study. A further step in defining the facet of creativity being studied would be to hypothesize whether additional cognitive mechanisms are relevant to the selected facet of creativity. Inclusion of cognitive measures (i.e., neuropsychological measures or behavioral tasks) that assess these mechanisms would allow determination of whether and how much creativity and cognitive measures overlap and allow integration and comparison of results to other literature that involves cognitive skills. For instance, Boden (2013) suggests that an understanding of associative pathways regarding semantic information and its relevance to context is important for creativity. Making semantic associations between words or concepts (likely associated with verbal creativity) has been related to executive function