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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↗
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↗
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↗
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↗