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Study of data and findings from clinical and applied psychoanalysis suggests a number of common factors encountered with uncommon frequency and intensity in creativity. In this paper, early childhood experiences, sensorial perceptions, body feelings, loneliness, reactions to loss, and body imagery of several artists are discussed. Problems relating to body image in creativeness are explored.
The aim of the current study was to determine the degree to which a sample of one child's creative utterances related to utterances that the child previously produced. The utterances to be accounted for were all of the intelligible, multi-word utterances produced by the child in a single hour of interaction with her mother early in her third year of life (at age 2;1.11). We used a high-density database consisting of 5 hours of recordings per week together with a maternal diary for the previous 6 weeks. Of the 295 multi-word utterances on tape, 37% were 'novel' in the sense that they had not been said in their entirety before. Using a morpheme-matching method, we identified the way(s) in which each novel utterance differed from its closest match in the preceding corpus. In 74% of the cases we required only one operation to match the previous utterance and the great majority of these consisted of the substitution of a word (usually a noun) into a previous utterance or schema. Almost all the other single-operation utterances involved adding a word onto the beginning or end of a previous utterance. 26% of the novel, multi-word utterances required more than one operation to match the closest previous utterance, although many of these only involved a combination of the two operations seen for the single-operation utterances. Some others were, however, more complex to match. The results suggest that the relatively high degree of creativity in early English child language could be at least partially based upon entrenched schemas and a small number of simple operations to modify them. We discuss the implications of these results for the interplay in language production between strings registered in memory and categorial knowledge.
In the 60s, Occupational Therapy (OT) with spinal cord injured patients had primarily been based on manual activities, aimed at improving functional levels. Gradually, attainment of the highest possible level of independence became a central emphasis of OT care. While creative development of the patient seemed to conflict with this foremost objective of independence, practical experience in the meantime has taught that creative activity can be an avenue toward independence. Also, the OT regimen for SCI patients has for several years now been extended to include computer-based technology for functional treatment as well as prevocational measures.
Gender differences in EEG patterns associated with verbal creativity were studied by EEG mapping. The EEGs of 18 males and 21 females (right-handed university students) were recorded during a performance of Remote Associates Task (RAT) compared with the letter-fluency and simple associate's tasks. Gender differences were found in a factor structure of the indices of verbal thinking and a score of generating words was greater in women than men. No significant gender differences in originality of associations were revealed, however, gender-related differences in the EEG-patterns were found at the final and initial stages of RAT. In men, the beta2-power was increased in both hemispheres at the beginning of test. To the end of testing, the power of oscillations in the beta2 band increased only in the central part of the cortex. In women, the beta2-power was increased to a greater extent in the right than in the left hemisphere at the initial stage of task performance, whereas the final stage was characterized by a relative decrease in beta-activity in parietotemporal cortical regions and increase in the left prefrontal region. It is suggested that the verbal creative thinking in men is based mostly on "insight" strategy whereas women additionally involve the "intellectual" strategy.
It seems to be a correlation between creativity and mental illnesses like manic-depressive illness and schizophrenia. The reason for this is partly unknown, but neuropsychological investigations have proposed mechanisms which could help to explain this association. Lars Hertervig (1830-1902) and Carl Fredrik Hill (1849-1911) are two famous Scandinavian landscape painters from the end of the 19th century, both of whom suffered from mental illness. This paper describes the artistic development of the two painters and discusses this in relation to how brain diseases may influence creativity and artistic expression.
Gender-related differences in EEG patterns during creative visual thinking were investigated in 10 men and 10 women. The spectral power density was analyzed in the range of 4-30 Hz. Gender differences in the hemispheric asymmetry of theta1-rhythm desynchronization were found: females demonstrated greater desynchronization in the right hemisphere than in the left hemisphere, whereas no asymmetry was revealed in males. Only in women numerous negative correlations between creativity indices and task-induced theta1 desynchronization were found.
On the background of a creative psychotherapy with a young man covering the antagonism between Eros and Thanatos creativity is presented as a power not only mediating between destructive and constructive processes but integrating itself into the personal image and sense of life. Thanatophobic regression metamorphosizes into courage for life, the ability to face transitoriness and to discover the power of phenix in it which creates new creations.
Features of EEG pattern during verbal creative thinking depending on experimental instruction were studied in men and women. Spectral power density was analyzed in six frequency bands (4-30 Hz). Performance of a creative task produced an increase in the power of theta (4-6 Hz) and beta2 (20-40 Hz) components and decrease in the power of alpha (8-13 Hz) and betal (13-20 Hz). Changes in the alpha and betal bands were observed, predominantly, in the posterior areas, whereas power of the thetal and beta2 bands increased in the anterior areas. Independently of instruction, women demonstrated greater synchronization in the theta1 band than men, whereas in men the desynchronization in the alpha2 band (10-13 Hz) was more pronounced. When the subjects were instructed to create original sentences, a widespread decrease in the EEG power was observed in the band of 8-30 Hz as compared to instruction "to create sentences". Thus, the instruction-related changes in EEG power were not gender-specific. They may reflect neural activity mediating selective attention.
The process of triangulation was used to develop an instrument to measure thinking, learning, and creativity in the nursing workplace. A TLC instrument consisting of five components was systematically developed as part of this study. In this descriptive correlative study, we investigated nurses' perceptions of their ability to think, learn, and be creative in their work life. The results of the investigation showed that TLC is significantly related to the perceived quality of work life of practicing registered professional nurses supporting Naisbett and Aburdene's (1985) idea that TLC is essential to attract and retain employees in the workplace.
Thus far, in most fields of endeavor, the majority of seminal achievements have come from men. In this article, we have considered some possible explanations for this phenomenon, and for each of these explanations, some theories of creativity that would stress it. We have emphasized that creative achievement depends on both biological and environmental factors and that inborn talents establish a potential whose fulfillment depends on appropriate experiences. Because men and women differ in both factors, either or both could have produced the achievement difference. Moreover, achievement can occur in fields requiring different abilities. Talent may not be wide ranging but directed toward specific endeavors, with men and women differing not in amount of talent but in the fields preferred. Changes in women's roles and cross-cultural studies may shed further light on the gender difference, but environmental explanations alone are premature.
Creativity and problem solving are closely related in the learning and practice of nursing. The problem underlying this study concerns the attitudes of professors of nursing in 321 French language community colleges in Quebec toward the creative characteristics of their students. However, given the absence of a valid and reliable French instrument, this study focused on the validation of a French version of Torrance's Ideal Pupil Checklist. Content, construct and criteria validity were all verified, as well as the stability and homogeneity aspects of reliability.
The 25-yr. follow-up study of the self-concepts of a highly creative group of 10 adolescent girls showed both stability and change. In mid-life the group continued to describe themselves as both creative and intelligent; however, they also changed in that they now regard themselves as having a greater social interest.
The author applies concepts of creativity, developed in regard to literature and graphic arts, to the field of music. He refers to Sterba's concept of "regressive self passage" as an explanation of musical creativity. Modern theories of narcissism as well as composers' personal accounts are incorporated into the argument.
This article discusses creative learning principles. Presented is one innovative strategy that has been used to foster a creative connection between learning and new knowledge. Student nurse examples are included.
Congenital or acquired conditions directly or indirectly causal in total or partial impairment of manual function are set out. The possibilities for creative-expressive activity, using various techniques, nothwithstanding manual disabilities are pointed out. In Cefischer, who until his war-related loss of both upper limbs had been a renowned cartoonist, a comparison of his works, drawn initially by hand and later with the mouth, reveals his characteristic style of expression having remained the same. Further examples are given of creative expression in the presence of manual disability even under extreme circumstances (such as 11 years of confinement to the Iron Lung). Arts and crafts work of persons with leprosy-related manual handicaps are mentioned; typewriter graphics as a method inaugurated by Basset is presented as used in young people with total manual disability. Partial disability of manual function due to arthritis was present in Renoir, Jawlensky, and Grandma Moses, the course of their conditions is described over time. Contents and form of their pictures, after long years of being manually disabled, do not reveal any essential changes in comparison to their earlier ones.
A duality of mind is readily demonstrable in split-brain humans, and evidence is steadily accumulating that ongoing interhemispheric communication is incomplete in the intact brain. It is now certain that the corpus callosum can transfer high-level information from one hemisphere to another. When we take into account the well-established principle of hemispheric specialization, added to the impressive normality of split-brain humans in ordinary social situations, a physiologic explanation for at least some forms of creativity seems close at hand. What is required is a partial (and transiently reversible) hemispheric independence during which lateralized cognition can occur and is responsible for the dissociation of preparation from incubation. A momentary suspension of this partial independence could account for the illumination that precedes subsequent deliberate verification. From this point of view, we can understand better the opinion of Frederic Bremer, who wrote years ago that the corpus callosum subserves "the highest and most elaborate activities of the brain"--in a word, creativity.
The drug experience is not a phenomenon of isolated interest to the neurosciences. The investigation of the phases of the drug experience can tell us much about the process of stimulating and losing creativity. This paper aimed to present a human model of creativity and the drug experience to complement the existing animal models. It remains for future research to reject or confirm the hypotheses sketched here. The exploration of these hypotheses would give us better insight into the control mechanisms determining the delicate process of creating functional forms that link words and images to feelings (for example, art). The examination of the drug experience from the point of view of cerebral lateralization provides a better understanding of how the quest for art may be tied up with the consequences of self-destruction. As Luria has noted, the gnostic disturbances associated with damages of the right hemisphere are "the remarkable absence of perception of the patient of his own defects; . . . such patients have unimpaired speech but they lack the precise analysis of the direct flow of information about their own body." Perhaps this was intuitively known by Coleridge, who in 1803 had already passed into the maintenance phase and wrote the fragment "Reality's Dark Dream": I know 'tis but a dream, yet feel more anguish Than if 'twere truth. It has been often so: Must I die under it? Is no one near? Will no one hear these stifled groans and wake me?
Hitherto programmes of artistic-creative activities with the elderly have meant to a large extent keeping such individuals busy and to aim at a "naive art" in the style of Grandma Moses, characterized by a conformity with stereotypes and practical utilizability. An aesthetic education of the elderly must, however, be guided by the recovery, extension and intensification of communicative fields and the strengthening and stabilization of identity and self-esteem. Emphasis, therefore, must not be placed on the production of a useful item corresponding to market rules but rather on the production process itself, which provides positive experience with material and techniques, strengthens self-confidence, reduces the demand for very good workmanship and enhances self-reliance and self-responsibility. Artistic-creative activities in this sense have a therapeutic effect; they stimulate the ability to communicate and enhance self-esteem. Experience made so far with art therapy with the elderly is discussed, in particular its effects on the treatment of the depressed elderly.