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PubMed1994

Notes on emotional components of musical creativity and performance.

We explored emotional accompaniments to stages of a musician's cycle of creativity through interviews with musicians. Creativity was defined in terms of performance or composition. These musicians described strong emotional vacillations that occur across the creative cycle and discussed ways of dealing with emotional issues involved in moving from one work to the next. Parallels were drawn between emotional aspects of completing a performance or composition to emotional aspects of termination in psychotherapy. Suggestions were offered to musicians for means of dealing with naturally occurring but powerful emotional components of creativity. In addition, some of the musicians suggested that music educators consider teaching students about potential emotional issues that may accompany creative effort. An integration of these issues into music education programs might better prepare students for careers as professional musicians.

Creativity↗
PubMed1989

Mood disorders and patterns of creativity in British writers and artists.

Extremes in mood, thought and behavior--including psychosis--have been linked with artistic creativity for as long as man has observed and written about those who write, paint, sculpt or compose. The history of this long and fascinating association, as well as speculations about its reasons for being, have been discussed by several modern authors and investigators, including Koestler (1975), Storr (1976), Andreasen (1978), Becker (1978), Rothenberg (1979), Richards (1981), Jamison (in press) and Prentky (in press). The association between extreme states of emotion and mind and creativity not only is fascinating but also has significant theoretical, clinical, literary and societal-ethical implications. These issues, more thoroughly reviewed elsewhere (Jamison et al. 1980; Richards 1981; Jamison, in press), include the understanding of cognitive, perceptual, mood and behavioral changes common to manic, depressive and creative states; the potential ability to lessen the stigma of mental illness; effects of psychiatric treatment (for example, lithium) on creativity; and concerns raised about genetic research on mood disorders. The current study was designed to ascertain rates of treatment for affective illness in a sample of eminent British writers and artists; to study differences in subgroups (poets, novelists, playwrights, biographers, artists); to examine seasonal patterns of moods and productivity; and to inquire into the perceived role of very intense moods in the writers' and artists' work. One of the major purposes of this investigation was to look at possible similarities and dissimilarities between periods of intense creative activity and hypomania. Hypothesized similarities were based on the overlapping nature of mood, cognitive and behavioral changes associated with both; the episodic nature of both; and possible links between the durational, frequency and seasonal patterns of both experiences.

Art↗
PubMed2006

Schizotypy, creativity and mating success in humans.

There is an evolutionary puzzle surrounding the persistence of schizophrenia, since it is substantially heritable and associated with sharply reduced fitness. However, some of the personality traits which are predictive of schizophrenia are also associated with artistic creativity. Geoffrey Miller has proposed that artistic creativity functions to attract mates. Here, we investigate the relationship between schizotypal personality traits, creative activity, and mating success in a large sample of British poets, visual artists, and other adults. We show that two components of schizotypy are positively correlated with mating success. For one component, this relationship is mediated by creative activity. Results are discussed in terms of the evolution of human creativity and the genesis of schizophrenia.

Adult↗
PubMed1995

Playing at research: methodological pluralism and the creative researcher.

In its quest for acceptance by the scientific community, mental health nursing research has developed an unhealthy obsession with methodological rigour. This paper draws on the work of several writers from the philosophy of social science to argue that this focus on methodology stifles individual creativity and acts as a gatekeeper to the profession which excludes many of our brightest and most creative researchers. The author proposes a new approach to doing research that facilitates the creative process by encouraging a playful approach that temporarily abandons the accepted rules and methods of the research process in favour of an 'anarchistic epistemology' and a variety of unusual and not necessarily externally validated methods. It is only at the end of the research process that valid and generalizable methods are introduced, and the author calls for journals to open a creative dialogue by being more willing to publish papers describing the early, exploratory stages of research, based on a judgement of their creativity and innovation.

Creativity↗
PubMed2005

Artistic creativity, style and brain disorders.

The production of novel, motivated or useful material defines creativity, which appears to be one of the higher, specific, human brain functions. While creativity can express itself in virtually any domain, art might particularly well illustrate how creativity may be modulated by the normal or pathological brain. Evidence emphasizes global brain functioning in artistic creativity and output, but critical steps which link perception processing to execution of a work, such as extraction-abstraction, as well as major developments of non-esthetic values attached to art also underline complex activation and inhibition processes mainly localized in the frontal lobe. Neurological diseases in artists provide a unique opportunity to study brain-creativity relationships, in particular through the stylistic changes which may develop after brain lesion.

Brain Diseases↗
PubMed2005

Disruption, dissonance and embodiment: creativity, health and risk in music narratives.

This article explores notions of creativity, health and risk, drawing on interviews with freelance musicians in the UK. The social context of insecure music work is explored along with hegemonic discourses of creativity in which hedonism, risk and sacrifice are connected. The study draws on narrative analysis in order to examine responses to disruptions that affect creative work. It also explores ongoing accounts of dissonance in music work. The research builds on the new musicology in exploring the cultural basis of creative ideals: these extend beyond the arts to influence many areas of social life. It highlights the way in which the exercise of aesthetic judgements, including judgements about the self, serve to include and exclude particular identities, valuing and diminishing their contributions. The study also builds on sociological debates concerning the regulatory functions of reflexivity and body management in the context of late modernity. Here, strategies of embodiment are also seen in relation to empowerment as challenges to hegemonic notions of creativity. Finally, the research builds on methodological debates surrounding narrative analysis, adopting a sociological approach that emphasizes the particular context of music work and identifies core narratives that reveal connections between everyday experiences and deeper cultural processes.

Communication↗
PubMed1977

A cognitive style approach to creative thought.

Creative thinking was explored from several approaches to further understanding of the interrelationship of perception, personality, and cognition. College students (N = 45) were administered the Group Embedded Figures Test (GEFT), the Remote Associates Test (RAT), a questionnaire concerning RAT strategy, and two self-report scales. Field independent subjects were found to be significantly (p less than .001) more creative than field dependents. Correlations between the RAT and GEFT and the self-report measures of conformity and creativity, while largely nonsignificant, were in the predicted directions. Results demonstrated that advanced strategy levels and insightful responses were significantly related to high performance on the RAT. Theoretical links between cognitive style and Piagetian concepts were discussed in regard to creative thought. Overall, these findings support the contention that the creative processes should be studied, not as isolated structures, but with relational and multifaceted emphasis.

Cognition↗
PubMed1987

Creativity in neurosurgical publications.

The publications of 50 of the first American neurosurgeons were studied, and a citation analysis was done for the period 1965 through 1979. Because creative authors and their papers influence the scholarship and technical course of a discipline such as neurosurgery, the number of citations to an author or publication is a good measure of creativity (the production of original ideas that are lasting and eminent). The 10 authors who had the largest number of citations of papers, chapters, and books were Penfield (3228), Cushing (2588), Dandy (1732), Bailey (1061), White (968), Matson (932), Ingraham (651), Scoville (604), Davidoff (540), and Elsberg (414). The most cited book was Epilepsy and the Functional Anatomy of the Human Brain, by Penfield and Jasper, and the most cited paper was Scoville and Milner's "Loss of recent memory after bilateral hippocampal lesions." Authors who wrote more papers were found to have a greater total number of citations for these papers, but did not average more citations per paper than less productive colleagues. Neurosurgeons with research experience were more productive but not more creative than were more clinically oriented authors. The 5-year creative peak of 7 of the 10 most creative neurosurgeons occurred after the age of 50. The subjects on which the 50 neurosurgeons wrote the most papers were central nervous system tumors, trauma, and the basic neurosciences; these subjects also were cited most frequently. The proximity of the date of publication to the period of citation analysis resulted in a moderately better chance of a paper being cited, but more recent papers did not average more total citations.

Creativity↗
PubMed2006

Social identity and the recognition of creativity in groups.

This paper develops an analysis of creativity that is informed by the social identity approach. Two studies are reported that support this analysis. Study 1 (N=73) manipulated social identity salience and the content of group norms. The group norm was either conservative (i.e. promoted no change) or progressive (i.e. promoted change). When social identity was salient and the group norm was conservative, a non-novel proposal was perceived to be more creative. Study 2 (N=63) manipulated social norms and identity relevance. Results showed that while social norms influenced perceptions of creativity, identity relevance influenced positivity but not perceptions of creativity. These findings support the idea that perceptions of creativity are grounded in the normative content of group membership and self-categorization processes.

Adolescent↗
PubMed2001

Collaborating with the unconscious other. The analysand's capacity for creative thinking.

The analysand's capacity for making use of psychoanalytic treatment has been a subject of importance since the beginning of psychoanalysis. The author addresses an aspect of the difficulty encountered by analysands in achieving a psychic state that allows the creative use of free association, dreams, parapraxes and other spontaneous phenomena occurring during the course of treatment. He suggests that a very specific state of mind is essential to both the psychoanalytic process and the creative process. Using theoretical concepts derived from Freud, Klein and Bion, he develops the idea of an internal object relationship, 'the collaboration with the unconscious other', which forms the basis for both creative thinking and the psychoanalytic function of the personality. Creative thinking is distinguished from artistic endeavour and discussed as a universal potential, on which growth in psychoanalysis depends. The term 'unconscious other' is meant to signify the subjective experience of a foreign presence within oneself from which both spontaneous creative inspiration and involuntary psychic phenomena are felt to emanate. The author presents clinical material to suggest that paranoid-schizoid and depressive anxieties form obstacles to collaborating with the unconscious other, and must be worked through in order to achieve an analytic process.

Creativity↗
PubMed2002

Dreams and creativity--collaborative psychoanalytic work.

Walter Bonime's contributions to the understanding and interpretation of dreams highlight collaboration and creative effort as essential to achieve appropriate attunement and effective emotional growth. The authors incorporate the theoretical constructs and technical recommendations of Bonime into their clinical work with artists. They describe how creative psychoanalytic work with artists' dreams can promote productivity, spontaneity, emotional growth, and facilitate conflict resolution, functional regression, and affective regulation. Psychoanalytic theories on creativity and the creative personality are reviewed and case material is presented to illustrate some of the technical aspects of the collaborative interpretation of artists' dreams. The authors propose that the process of dream interpretation may also foster the functional regression characteristic of creative work and motivate artists to more freely create works of art. The critic's transference is defined, and with examples the authors show how the exploration of this transference may lead to decreased resistance by allowing a reparative experience to exist within the analytic setting.

Adult↗
PubMed2005

Psychoanalysis, creativity, and hope: forward edge strivings in the life and work of choreographer Paul Taylor.

Psychoanalysis and creativity are not interchangeable enterprises; however, both creativity and psychoanalysis promise the hope of transformation. But hope may be fragile. Healthy aspects of self may hide and diminish hope to protect it against invasion from toxic pathological patterns. Hope may be rekindled by an empathically responsive environment and the reengagement of healthy forward edge strivings. Psychoanalysis illustrates creativity as a conduit for hope. Modern dance choreographer Paul Taylor's 1988 autobiography, Private Domain, describes Taylor's hope and strivings through creative engagement. Unfortunately, when Taylor's body inevitably falters after years of performing, he is unprepared psychologically to cope successfully. Taylor's sense of self begins to fragment and his forward edge strivings to decay. Eventually, Taylor collapses on stage from drug addiction and illness; his performing career crashes to an end. Taylor must search for his forward edge strivings with hope. Psychoanalysis illuminates Taylor's journey to find hope, motivation, meaningful intention, and transformation through creativity and dance-making.

Aspirations, Psychological↗
PubMed1995

Relationship of body image and creative dance movement.

Findings supporting the proposition that dance movement improves a person's body image have been contradictory. Previous work focussed on styles such as ballet, jazz, and modern dance but it is arguable that creative dance movement, with its less structured approach and absence of predetermined performance standards, will have a positive influence on body image. This study examine scores on the Multidimensional Body-Self Relations Questionnaire of 112 women between 18 and 69 years who had been actively participating in creative dance movement courses for periods ranging from two weeks to 16.5 years. Subjects experienced in creative dance movement were more satisfied with their appearance, fitness, and body parts than subjects with less than five years of experience. Differences in evaluation of health were not clearly established. Given this analysis and the potential for wide-spread clinical use of creative dance movement with people having body-image disturbances, empirical research on the relationship between creative dance movement and body image is warranted.

Adolescent↗
PubMed1998

Attitude towards aggression and creative functioning in patients with breast cancer.

Three projective personality tests were used to assess attitude to aggression (The Identification Test), anxiety and defenses (The Meta-Contrast Technique) and creative functioning (The Creative Functioning Test) in 70 patients with breast cancer. Discriminant analyses were applied pro primo to characterize psychologically patients with a better prognosis and patients with a poorer prognosis. A second aim was to characterize psychologically older (postmenopausal) and younger (premenopausal) women. Generally, high scores on the Identification Test indicated maladaptive attitudes towards aggression among all the patients. Patients with a poorer prognosis showed responses that in healthy subjects indicate acknowledgement of aggressive impulses, perhaps suggesting lack of "defenses" against such impulses among those patients. Another way to describe it would be that patients with a better prognosis seem to have (normally nonadaptive) "defenses" against aggressive impulses while those with poorer prognosis have not. Surprisingly, the patients with a better prognosis (but not those with a poorer prognosis) gave responses classified as depression in the Meta-Contrast Technique. Typical of premenopausal patients were responses classified as anxiety as well as reaction formation on the Identification Test. Responses classified as adaptive defenses (isolation) were seen in the Meta-Contrast Technique. A surprising finding was that many of these patients were characterized by high scores on the creativity test. These original statistically significant findings of attitudes towards aggression and creative functioning in breast cancer patients are discussed in relation to the underlying nature of aggression and creativity.

Adult↗
PubMed1992

Relationship of scores on two personality measures: creativity and self-image.

This study investigated the relationship between self-image and creativity in late adolescence. The multidimensional Offer Self-image Questionnaire was used to assess self-image while the How Do You Think Inventory was used to measure creativity. The results were similar to investigations indicating superior socioemotional functioning among gifted adolescents. More creatively scoring subjects (n = 65) exhibited better psychosocial functioning on six of the eleven self-image dimensions measured than the less creatively scoring subjects (n = 69). Concomitant with their more heightened self-assurance was subjects' expressed greater confidence in social competence. The findings are contrary to the profile that depicts creative individuals as socially and emotionally deficient.

Adolescent↗
PubMed1993

Effects of trait anxiety and the scamper technique on creative thinking of intellectually gifted students.

This work assessed the effect of trait anxiety (measured on the State-Trait Anxiety Inventory) and the Scamper technique on figural creative thinking, measured by the Torrance Tests of Creative Thinking. An analysis of covariance with 52 gifted students in a summer camp gave no significant main effect of treatment for trait anxiety, or their interaction. Scamper may not effectively improve figural creativity and anxiety may not influence figural creativity the same way it influences verbal creativity, at least as measured.

Adolescent↗
PubMed1998

Implementation of groups for creative expression on a psychiatric inpatient unit.

Patients benefited from creativity group participation through expression of both positive and negative feelings, group acceptance, and acceptance of self in a non-competitive activity. Psychiatric nurses can lead creativity groups with a focus on creative expression, rather than psychotherapy. No specific training in the arts is required for these simple creative formats. It was found from using a variety of creative formats that, overall, patients received group projects better than individual projects done in a group setting.

Art Therapy↗
PubMed1999

The Whole Brain Creativity Model: implications for nursing education and practice.

Recent nursing literature has repeatedly proclaimed the need for creativity in nursing. Effective nursing practice in the new millennium will require innovative and creative nurses who can adapt to change and have the courage to take risks in order to provide holistic, individualised, context-specific care. An analytical study of the literature revealed interesting information on the concept creativity and teaching for creativity. The aim of this article is to describe the Whole Brain Creativity Model and its implications for nursing education and practice.

Brain↗