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Aspects of the creative process in music: a case report.

A gifted patient, hampered by his ambivalent strivings, began to write music during his analysis and became a professional composer. I have attempted to show a parallel between the analytic and the creative process. Both in his use of dreams and his particular style of free association, the original idea appeared in fully developed form, marked by key themes. As his ambivalent strivings were analyzed, his narcissistic libido was used less and less as a substitute for ego-strivings, but, instead, as countercathexis. With the freeing of ego functioning, the patient appeared to concentrate on working through, which parallels the development section in music and seems to contain one of the significant aspects of the creative process.

Adult↗

Assessing differences in children with learning disabilities and normally achieving students with a new measure of creativity.

This study investigates the creative abilities of children with learning disabilities by employing a new measure designed to assess creativity without the use of verbal or analytic skills. Sixteen normally performing and 16 children with learning disabilities were administered this task and a control task of verbal fluency. The children with learning disabilities scored significantly higher on the nonverbal but not the verbal control task.

Achievement↗

Creative capabilities of learning-disabled and normal students.

The Torrance Tests of Creative Thinking (Figural Form A) and Sounds and Images were administered to 26 learning-disabled and 30 average students in Grades 3, 4, and 5. Significant differences between the two groups were noted on all measures except fluency. Although learning-disabled students produced an equivalent number of relevant creative responses in comparison to their average peers, they were less able to generate new ideas and change their initial approach.

Child↗

Empathy, self-esteem and creativity among junior ballet dancers.

62 junior ballet dancers from the Finnish National Opera (44 girls, 18 boys, ages 9 to 17 yr.) completed the Battle Self-esteem Inventory Form B or AD, the Tennessee Self-concept Scale, 2 factors from Coopersmith's Self-esteem Inventory, 10 items from Rosenberg's scale, the modified Mehrabian and Epstein Empathy Scale, a questionnaire on hobbies, the Rorschach and the Figural B Form of Torrance's creativity test. Analysis showed dancers trained 4-5 nights/week, tended to have creative hobbies, were more empathetic and sensitive (especially girls) than controls. Dancers had higher self-esteem than the normative sample.

Adolescent↗

Strategies for teaching nursing research. Discovering the creative listening hole.

Creative questioning that is based on nonverbal inner listening can lead to new insights, discoveries, and perspectives. Though very challenging, the mythology of reaching the listening hole can help the student develop an ear for keys or gaps in his or her perceptions about phenomena. It can help develop respect for the rich lode of nursing experience from which researchable questions can be developed. Finally, creative research questioning introduces a new mental discipline that can lead to a fresh perception of nursing practice questions. The value of the process outweighs the risks and difficulties.

Communication↗

Verbal creativity, depression and alcoholism. An investigation of one hundred American and British writers.

BACKGROUND: An earlier study of 291 world famous men had shown that only visual artists and creative writers were characterised, in comparison with the general population, by a much higher prevalence of pathological personality traits and alcoholism. Depressive disorders, but not any other psychiatric conditions, had afflicted writers almost twice as often as men with other high creative achievements. The present investigation was undertaken to confirm these findings in a larger and more comprehensive series of writers, and to discover causal factors for confirmed high prevalences of affective conditions and alcoholism in writers. METHOD: Data were collected from post-mortem biographies and, where applicable, translated into DSM diagnoses. The frequencies of various abnormalities and deviations were compared between poets, prose fiction writers, and playwrights. RESULTS: A high prevalence in writers of affective conditions and of alcoholism was confirmed. That of bipolar affective psychoses exceeded population norms in poets, who in spite of this had a lower prevalence of all kinds of affective disorders, of alcoholism, of personality deviations, and related to this, of psychosexual and marital problems, than prose fiction and play writers. CONCLUSIONS: A hypothesis is developed, which links the greater frequency of affective illnesses and alcoholism in playwrights and prose writers, in comparison with poets, to differences in the nature and intensity of their emotional imagination. This hypothesis could be tested by clinical psychologists collaborating with experts in literature on random samples of different kinds of writers.

Alcoholism↗

Time experiences, self-actualizing values, and creativity.

The Personal Orientation Inventory (POI), the Inventory of Temporal Experiences (ITE), and the Adjective Check List (ACL) were administered to 80 subjects. Sixteen scores were derived from the POI, 4 from the ITE and a Creativity score for the ACL. The resulting intercorrelations were interpreted in the light of the theories of Maslow and Hugenholtz which postulate a convergence of self-actualization, creativity, and certain experiences of time. The present study presents some evidence for the expected convergence and contributes to the construct validity of several of the variables studied.

Adolescent↗

Rorschach interpretation with high-ability adolescent females: psychopathology or creative thinking?

Highly intelligent and creative persons have long posed interpretation difficulties for users of the Rorschach Inkblot Test. This study examined Exner's (1993) Schizophrenia, Depression, and Coping Deficit indices as adjustment measures in a sample of 43 female adolescents enrolled in an early college entrance program and a comparison group of 19 girls enrolled in public high school gifted programs. Contrary to conventional interpretation, higher scores on the Rorschach Schizophrenia Index among the accelerants were correlated with healthy emotional adjustment on both the California Psychological Inventory and the Self-Perception Profile for Adolescents (SPPA). Further analyses offered support for the hypothesis that among accelerants, elevated scores on the Rorschach constellations did not indicate psychopathology, but rather their creative thinking style.

Adaptation, Psychological↗

Tools, toys, truisms, and theories: some thoughts on the creative cycle of theory formation.

Theory creation underlies the basic laws of evolution, calling for both random variation (loosening) and critical selection processes (tightening). Theory construction requires support of both components. However, whereas psychology has created a refined methodology for the tightening stage, attempts to understand the loosening stage of the creative cycle are conspicuously missing. I propose that both aspects of the creative cycle of theory formation can be acquired and exercised playfully, through distinct loosening and tightening games. I outline the rules of these games and illustrate them with examples from contemporary research.

Altruism↗

Mental imagery and creativity: a meta-analytic review study.

The reports of many creative individuals suggest the use of mental imagery in scientific and artistic production. A variety of protocols have tested the association between mental imagery and creativity, but the individual differences approach has been most frequently employed. This approach is assessed here through a range of meta-analytic tests. Database searches revealed 18 papers employing the individual differences approach that were subjected to a conservative set of selection criteria. Nine studies (1494 participants) were included in the final analyses. A marginal, but statistically significant, Fisher's Z-transformed correlation coefficient was revealed. Further analyses showed little difference between form and type of self-reported imagery and divergent thinking. Explanations for the failure to account for more than 3% of the variance in the data sets are discussed in the context of anecdotal reports, task validity, and design problems.

Creativity↗

On falling in love and creativity.

This paper discusses the ego functioning and self psychological aspects of falling in love and passionate love. These universal and extraordinary phenomena are conceptualized as representing the activity of the creative imagination in solving problems related to coping with intense narcissistic and libidinal pressures. The work of other authors is reviewed and recast into a metapsychological framework involving ego and superego contributions to the experience, and focused on self cohesion. An illustrative clinical psychotherapy case is presented in an effort to understand what has traditionally appeared to be a mysterious and disjunctive life experience, and to explore the creative surge that can be generated by falling in love both in and out of the transference.

Adult↗

Creativity in the psychoanalytic process.

Beginning with Nietzsche's doctrine of "perspectivism," there has been an increasing realization in the sciences that the notion of an objective detached observer who reaches truth as he or she studies the subject is incorrect. There is general agreement that the subject-object dichotomy in 19th-century science that lies behind traditional sciences and was assumed by Freud is incorrect. As a result we now have in psychoanalysis a movement at the other extreme called "constructivism," which assumes that on a moment-to-moment basis the analyst and patient together creatively construct the data, interpretations, and "truths" that result. This incidentally casts Kohut's method of empathic understanding as the way to accumulate data in the psychoanalytic process under suspicion, because it is questionable whether the analyst is able to empathize with what is allegedly already there in the patient; it could not be correct if the analyst and patient are constructing what is "already there" together from moment to moment. The same would be problematic about the analyst's allegedly empathic grasp of the patient's "sense of self," which lies at the center of self psychological investigation. What we have come to realize is that every psychoanalyst approaches patients with a tool kit whether it is displayed or not. Levi-Straus pointed out that the tool kit is for the use of a bricoleur, a potter. The more tools in the analyst's kit, the more sense the patient will make to the analyst, a good argument for the five-channel theory of psychoanalytic listening I (Chessick, 1992a) have previously presented. This is not consistent with the traditional theory, which emphasized insight into the developmental origins of psychopathology through analysis of the transference as the central mechanism of therapy. Now, it is argued by some, the treatment process itself, the sample interpersonal interaction and interpretation of the current relationship between the analyst and the patient as created by both of them is crucial to catalyzing a change in the patient. Is this a form of after-education and a travesty of traditional psychoanalytic thinking, as some authors claim, or is it a more sophisticated stance that deepens our understanding of the psychoanalytic process and especially of the analyst's contribution to it? Extrapolation of this question can also lead us to investigate how each country creates a form or theory of psychoanalysis that it needs, in an effort to understand why there is so little agreement within the international body of psychoanalysts. Emphasis on the creative input of the psychoanalyst, which tends to be downplayed in the traditional literature, is becoming increasingly realized as important as we go into the 21st century.

Creativity↗

Procedures to increase some aspects of creativity.

Instructions reinforcement (team points), and practice were applied to four behaviorally defined creative behaviors of eight fourth- and fifth-grade students. All four aspects (number of different responses, fluency; number of verb forms, flexibility; number of words per response, elaboration; and statistical infrequency of response forms, originality) were demonstrated to be under experimental control. The procedures also raised students' scores on Torrance's tests of creativity. Application of the experimental procedures may well be practical for classroom teachers.

Child↗

Relationship of autonomous imagery and creative self-perceptions.

107 Marshall University students were categorized as less, moderate, and more autonomous imagers according to the Gordon Test of Visual Imagery Control. More autonomous imagers obtained higher mean creative perception scores than moderate and less autonomous imagers, and moderate imagers obtained higher scores on creative perception than less autonomous imagers as measured by Something About Myself.

Creativity↗

Profile of perceptual-cognitive traits and personality style of possible relevance to creative productivity.

The amount of illusory movement perceived on the autokinetic test, manifestations of primary process expression on the Rorschach, and creative productivity as measured by the Torrance Tests of Creative Thinking, were collected from 47 volunteer college students. Those individuals who expressed primary process thinking as blatant affect and the fusion of images, and elaborated on a stimulus pictorially, had extensive movement on the autokinetic test (P less than .05). We further delineated certain personality characteristics of these individuals employing a 26-item bipolar questionnaire. They are among other things, active, striving, assertive, in touch with and free to express emotion, rebellious, incautious, self-determing, productive, motivated to influence others, and excelling in producing objects or ideas which are unique.

Adult↗

Perceptual stability, image size, binocularity and creativity.

24 male and female Ss, divided into three groups of 8 Ss each on the basis of their creativity test scores, were tested under fully counterbalanced conditions involving three sizes of Necker cubes, viewed under both monocular and binocular conditions. The response measure was number of figure of reversals experienced during 2-min. viewing periods for each set of conditions. Image size was statistically significant, while creativity levels and viewing conditions were not.

Adolescent↗

Undergraduate self-perceptions of creativity and independence.

596 undergraduate students from 7 schools of a major university responded to a group of 20 questions relating to self-perceptions of creativity and independence employed in earlier studies of graduate faculty members and industrial inventors and producers. The hypothesis was that these students would tend to perceive of themselves in terms of popular expectations relating to the schools of their choice. The results indicated that students of architecture, engineering, liberal arts, and science tend to see themselves as significantly more independent, individualistic, and creative than students of business, education, and to some extent, agriculture.

Achievement↗

Creative activity and sex-role identity in elementary school children.

The relationship of creative activity to sex-role identity was examined in boys (N = 80) and girls (N = 56), aged nine to twelve, of above average intelligence. Endorsement of personal characteristics that cut across sex stereotypes was associated with participation in a wide variety of creative activities. When analyzed by specific activity, the relationship with sex-role followed a consistent pattern for boys and girls combined: male activities such as sports with scores on the masculine scale, female activity such as dance or art with scores on the feminine scale, and sexually indeterminate activities such as drama or social leadership with scores on both scales.

Aptitude↗