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PubMed2006

[Creativity and visual expression].

The definition of the concept of creativity poses several difficulties and is further impeded by its vulgarizing use. It would be more suitable to apply "productivity" appropriately instead of using creativity in excessively wide sense. Creativity ought to be considered by a holistic approach, in which both conscious and unconscious factors play vital importance. Visual creativity is thought to consist of the following elements: originality, sensitivity, a special talent, as well as deeper dynamism of human personality, such as sublimation, reparative-compensating mechanisms and mentalization. All these capacities are utilised in self-healing and therapy (see art therapy). The above elements and mechanisms have important roles both in creativity and in artistic pleasure. The paper is illustrated by cases of dynamic examination of drawings.

Adult↗
PubMed2006

[Creativity and mental illness].

It has been known for a long time that people with salient social and artistic creativity suffer more frequently from psychiatric illnesses than the average population. In their review paper, the authors assess the Hungarian and international scientific literature regarding the association of creativity and psychopathology. They conclude that contrary to the concept prevailing in the first part of the 20th century about the strong association between schizophrenia and creativity, the results of empirical research now unambiguously suggest that prominent social and artistic creativity is associated primarily with affective, and more specifically with bipolar affective illnesses. In addition, we already know that as regards the development of creativity, it is not the given affective (depressive, manic, hypomanic) episode which is important, but the hyperthymic or cyclothymic temperament structure which also predisposes for affective illness.

Bipolar Disorder↗
PubMedDate not supplied

Promoting creativity in nursing education.

Shortly after the University of Iowa implemented a new, integrated curriculum in 1974, a study of creativity was initiated because one goal of the process curriculum is to foster creativity. Hypotheses of no difference between beginning and graduating students and between old and new curriculum students were tested by means of Student's t test with Activities 5, 6, and 7 of Verbal Form A, Torrance Tests of Creative Thinking used as the criterion measure. The null hypotheses were rejected in favor of the beginning students and the old curriculum students, respectively (p less than .05). Hypotheses of no relationship between creativity and American College Testing scores and admit grade point average were tested by computing Pearson product moment correlation coefficients. All values of r were nonsignificant. Further research on a number of aspects of creativity in nursing is suggested.

Creativity↗
PubMed1988

Ego autonomy, creativity, and cognitive style. A neuropsychodynamic approach.

True creativity cannot be understood apart from its psychologic prerequisite, ego autonomy. This in turn may depend on some optimum level of functioning in what has been described as the frontal-interhemispheric axis. In this model, the frontal lobes facilitate the programming, guidance, and recursive evaluation of goal-directed behavior, while the left-hemisphere language system provides for the self-articulatory integration of experience and action into a stable self-system. Fluid interactions between the hemispheres provide the raw material for creativity but also for certain forms of psychopathology, particularly manic-depression. The capacity for reflectivity, enabled by the frontal-interhemispheric control system, permits the consolidation of diverse kinds of experience into forms that can be expressed creatively. Schizophrenic thought disorder and psychopathic impulsivity both seem superficially to embody the seeds of primary process-driven creativity, but the deficit in frontal-hemispheric consolidation mechanisms keeps these cognitive products at a noncreatively primitive level. Conversely, the superfocused, hyperrational cognitive style of the obsessive-compulsive precludes the degree of spontaneity in the personality facilitated by easy interhemispheric communication, and so while the machinery for creative production may be operative, the spark that could ignite the whole process dies for lack of fuel. Finally, the present neuropsychodynamic approach emphasizes the interaction of multiple of brain systems in varying and flexible ways as the substrate for complex aspects of human behavior and personality.

Corpus Callosum↗
PubMed1988

Hemisphericity and creativity. Group process and the dream factory.

Traditionally, creativity has been studied as an aspect of the psychology of personality. Recent brain research--for example, hemisphericity study--provides a new physiologic grounding for such studies. Particularly needed now are creativity studies to relate both brain physiology and personality to group process. This article is the report of such a study applying systems research to an exploration of creativity in the motion picture-television industry. Findings include the identification of both right and left brain models and creative phases within cycles phenomena in group process creativity. Implications for psychotherapy and a wide range of fields are examined.

Achievement↗
PubMed1983

Some observations on the creative process and its relation to mourning and various forms of understanding.

Highly abstract thinking is the manifestation of the inner working of mental life, which in the present instance is the creative activity of a theoretical physicist. Events in the 'creative workshop' are traditionally not the focus of psychoanalytic inquiry. The study here begins with a description of the intrapsychic consequences of object loss and mourning and their specific outcome during a period of creative work. Three distinctive events can be considered as direct consequences of mourning: (1) The conceptualization of the 'little wave'. (2) The belief, that the 'little wave' is solely his invention. (3) The assumption made in the preconscious, that the 'little wave' is a stable one. (2) and (3) had turned out to be erroneous and had been corrected by Alpha subsequently. Thereafter the scope of the psychoanalytic inquiry widens to include the cognitive strategies employed by the physicist and their genetic link to the collective alternates in Greenacre's sense. One such cognitive strategy is dealt with, to which the term 'tangled hierarchy' is applied. This considers how thought or knowledge acquired at one level is transferred to another, or vice versa, with the aim of achieving some degree of isomorphy between them. Interactions between events within the realm of object relations and those which take place in the preconscious creative sphere are pointed out. The transitional stages of a creative product bear the mark of the specific features of object relations, conflicts and defences. The final product, however, does not exhibit these same marks.

Adolescent↗
PubMed1981

Relationships between creativity and psychopathology: an evaluation and interpretation of the evidence.

An age-old belief links creativity with psychopathology. The present paper examines the degree of scientific support for this belief and proposes a scheme for interpretation of the evidence within a framework of multiple causation. First, three major theories are considered; these differ fundamentally regarding whether creative ability and/or motivation may be associated with psychopathology. Next, creativity research involving cognitive, personality, motivational, and environmental variables is examined in this theoretical context. Results do not emerge as definitive for any one type of position. It is suggested instead that the origins of creativity may be heterogeneous; separate explanations may be required for distinct S subgroups, to potentially include subgroups within traditional psychiatric diagnostic categories. Epidemiological research is then considered. Despite methodological shortcomings, this work as a whole appears to support elevated levels of psychopathology among recognized creators compared to the general population, and familial (and perhaps even genetic) patterns of creativity-psychopathology association. Affective psychosis is particularly prominent across studies although design features limit full consideration of other pathologies. Some etiological hypotheses are then indicated within the framework of a proposed, inclusive classification scheme. Finally, considerations for further research are discussed, and the potential importance of continued inquiry in this area is emphasized.

Cognition↗
PubMed1981

Adaptation and cognition. II. Experimental study of the homospatial process in artistic creativity.

In a previously reported experimental study from an ongoing program of research on the creative process, the type of cognition designated as homospatial thinking was shown to function in the creation of literary metaphor. Homospatial thinking consists of actively conceiving two or more discrete entities occupying the same space, a conception leading to the articulation of new identities. Under experimental conditions involving facilitation of homospatial thinking through presentation of superimposed visual images, and control presentation of the same images separated and side by side, the superimposed presentation stimulated significantly more creative literary metaphors. In the currently reported experiment, the effect of such stimuli on creation in the visual arts was assessed. Forty-three artist subjects were randomly assigned either to a control group viewing three sets of slide photographs paired side by side on a projection screen or to an experimental group viewing the identical pairs of slide images superimposed on each other. Each subject created a pastel drawing stimulated by each of the three slide pairs. Resulting drawings were categorized according to the type of composition produced and quality of all drawings were independently rated by two internationally prominent artists. The primary results were that drawings produced in the superimposed slide condition which contained elements from both slides intermingled together were rated significantly more creative than a single element composition and also more creative than similar composition drawings stimulated by the separated slide condition (p less than .05). Production of a final drawing in which individual components are recognizable and intermingled together in response to the superimposed stimulus condition indicates the operation of homospatial thinking involving elements occupying the same space. Consequently, the results indicate a relationship between homospatial thinking and creative visual artistic effects.

Adaptation, Psychological↗
PubMed1980

[Creativity and art from the psychopathologic view].

From the beginning of this century, two principal directions have opened up for research dealing with pictorial expression in the psychiatric context. The two are represented in the approaches of Mohr in Germany and Péja in France. Where the former saw objects of negative value, the symptoms of an illness, the latter felt himself to be in the presence of authentic creative products. Over the last twenty years, the crystallisation of theoretical views has taken place under the dominant influence of the work of Navratil. This essay attempts a concise account of this development, so as to give as coherent a picture as possible of the relations between, on the one hand, creativity and artistic activity in the general sense, and on the other, the pictorial expression of psychiatric patients. Nowadays many regard psychotic art as art pure and simple. Current research is gravitating away from the "psychopathology of creativity" in the direction of the "psychology of creativity", thereby following Prinzhorn's lead. This positive evaluation of the creative act points not only to a change in the way we approach the artistic products of psychotic or brain-damaged patients, but also to a new attitude towards the patients themselves.

Art↗
PubMed1993

Attention deficit hyperactivity disorder, creativity, and the effects of methylphenidate.

Given that children with attention deficit hyperactivity disorder (ADHD) are more impulsive than peers, this study explored whether they are correspondingly more creative, and whether creativity declines when impulsivity is decreased through methylphenidate (Ritalin) therapy. A repeated-measures quasi-experimental design was used to compare the performance of 19 boys with previously diagnosed ADHD and 21 comparison boys aged 8 through 11 on two administrations of alternate forms of the Torrance Tests of Creative Thinking-Figural (nonverbal). Boys with ADHD received prescribed methylphenidate only for the first session. Overall, mean Torrance summary scores for comparison boys (mean = 115.1, SD = 16.1) were higher than for boys with ADHD (mean = 107.6, SD = 12.7). However, the difference between means was small (7%) and did not meet the 25% criterion for a clinically significant difference. No changes in performance over time (comparison group) or medication state (ADHD group) were observed. These data suggest that, when measured nonverbally, the creative thinking performance of boys with ADHD is not superior to that of peers who do not have ADHD. Regarding the effects of methylphenidate, prescribed therapy did not influence performance on this measure of creative thinking.

Attention Deficit Disorder with Hyperactivity↗
PubMed2004

PET study of brain maintenance of verbal creative activity.

This paper deals with the investigation of the brain organization of verbal creativity. Psychological tasks were designed in accordance with two main strategies used by volunteers in solving creative tasks. Regional cerebral blood flow (rCBF) was measured with positron emission tomography (PET) when performing two types of creative tasks in two groups of subjects, each type of the task organizing the creativity process in its own way. Valuable brain correlates of creativity were revealed in the left parieto-temporal regions (Brodmann areas 39 and 40).

Adolescent↗
PubMed1978

Personality differences between established and less-established male and female creative artists.

Past research on personality constructs of creative individuals has focused on men rather than women and has neglected the essentially social aspect of being considered creative. Therefore, personality variables of 60 male and 60 female creative artists were described using the California Psychological Inventory (CPI). Male and female groups were further divided equally into two subgroups reflecting a difference in degree of social acceptance of their work. Relationships between the four groups were explored by multiple discriminant analysis. The major conclusion noted was that creative females tend to be more like their creative male counterparts, in terms of CPI scale variation, than are males and females in general.

Journal Article↗
PubMed1981

Measurement of creativity: review and critique.

Presently available criteria of creativity are reviewed and classified into ten categories: tests of divergent thinking, attitude and interest inventories, personality inventories, biographical inventories, teacher nominations, peer nominations, supervisor ratings, judgments of products, eminence and self-reported creative activities and achievements. These techniques for measuring creativity are then criticized in terms of their reliability, discriminant validity, dimensionality and convergent validity. It is concluded that an inventory of self-reported creative activities and accomplishments is the most defensible technique for selecting creative individuals.

Journal Article↗
PubMedDate not supplied

[Creativity in nursing education--a triadic approach: teacher, student, curriculum].

This descriptive study investigated the extent to which creativity has been fostered in a public university undergraduate Nursing program in Brasilia, Brazil. Renzulli's theoretical model was used as a reference, which encompasses three elements--teacher, learner, curriculum. Data were gathered through the Teaching Practices Evaluation Questionnaire, completed by 15 professors and 65 Nursing students. Results indicated that while professors considered that they stimulate student's creativity; students disagreed on that point. Professors rated themselves as significantly more creative than their students, whilst students judged themselves and their colleagues as significantly more creative than their professors. Both samples emphasized their opinion by saying that curriculum in their program of study does not foster creativity.

Adult↗
PubMed2001

Stimulating grassroot creativity for quality of life and quality of environment.

This paper discusses an experiment on creativity development, a systematic endeavour aimed at empowering teachers and school principals through enhancement of their capacities to introduce and manage change at their schools. It focuses on enabling them to create learning processes and climates that stimulate creativity, especially creativity that enables students to self-help and to care for the environment. The experiment uses universities as 'beach-heads'. A group of university lecturers interested to join the program is functioning as trainer, consultant, motivator, network builder, partner, and facilitator for the teachers. The undertaking applies a multifaceted approach, involving the creation of a sense of urgency to change, restoring self-respect of the teachers. It also includes ways of starting the change from oneself, encouraging small but many practical meaningful activities, process oriented, recognizing efforts, collaborative network, cascading expansion, snowballing effects, self-selection and creating common ownership. This experiment had developed many self-organizing learning communities, inter-related and mutually benefiting in a national network for creativity. The teachers' involvement in creativity activities had brought changes in their attitudes toward students, their profession, environment, and toward change itself.

Community-Institutional Relations↗
PubMed1964

CREATIVE SCIENTISTS OF TODAY.

To investigate traits differentiating highly creative research scientists from less creative ones, a questionnaire was sent to 740 male scientists (400 chemists and 340 psychologists). Half of each group had achieved eminence as research scientists; the other half had not achieved research eminence, but were matched on relevant variables. Results indicated that creative scientists are more dominant than less creative ones, that they have more initiative, and are more strongly motivated toward intellectual success.

Achievement↗
PubMed1993

Gender, creativity, depression, and attributional style in adolescents with high academic ability.

The present study examined the relationship among gender, creativity, depression, and attributional style among high-achieving adolescents. One hundred twenty-eight eighth- and ninth-grade high-achieving students completed the Torrance Test of Creative Thinking (TTCT), the Children's Depression Inventory (CDI), and the Children's Attribution Style Questionnaire--Revised (KASTAN-R CASQ). The results indicate that there were gender differences only on the verbal component of the TTCT, with females scoring significantly higher. For both sexes, there was a significant relationship between figural creativity and a depressogenic attributional style. However, for females, high verbal creativity was associated with low levels of depression and a positive attributional style.

Adolescent↗
PubMedDate not supplied

Creativity in alcoholic and nonalcoholic families.

A battery of creativity tests was administered to 56 families (fathers, mothers, and their pubescent sons) representing three groups. Group A+ was comprised of recovering alcoholic fathers with a family history of alcoholism (n = 19). Group NA+ consisted of nonalcoholic fathers with a family history of alcoholism (n = 18). Group NA- was composed of nonalcoholic fathers without a family history of alcoholism (n = 19). None of the mothers or sons in these three family groups was alcoholic. All subjects completed the Creativity Personality Scale, the four Origence/Intellectence scales from the Adjective Check List, and the How Do You Think Test. Moreover, fathers and sons received two divergent thinking tests, and mothers rated their sons using a special scale from the Adjective Check List. Results indicate that alcoholic fathers and their sons had generally lower creativity scores than fathers and sons of the other two groups. The mothers did not differ. Moreover, there were significant correlations between fathers' and sons' creativity scores and significant interactions, indicating that the father-son relationships differed among the three groups. The implications of these results are discussed.

Adolescent↗