From Blind to Creative: In Defense of Donald Campbell's Selectionist Theory of Human Creativity

Both Perkins and Sternberg recognize Campbell's selectionist theory of knowledge generation as accounting for certain types of learning and human creativity. However, they argue that his theory cannot account for the full spectrum of human creativity, with Sternberg having more serious reservations than Perkins. I argue in this commentary that while blind variation and selective retention (BVSR) may not be involved in all forms of human behavior and thought, Campbell has made a compelling (if often misunderstood) case that all genuine forms of human creativity and invention involve BVSR. To support this broad application of Campbell's theory, I argue for the complementarity of among-organism and within-organism BVSR as well as for the complementarity of prior and current BVSR in all forms of creative human endeavor.     

Morality and a Scaffolding of Facts

In reply to Michael Campbell, I reformulate my questions of Raimond Gaita, avoiding the expression “form of life”. I examine what might remove the need for my questions, before taking up Campbell's line of thought about what he calls the “inwardness” of moral concepts. Campbell helps to clarify the picture of moral concepts advanced by Wittgensteinian moral philosophers. But at a general level, the picture remains unclear where a grammar meets its scaffolding of facts. Some may find this unproblematic, and indeed unavoidable. But I remain unsure of this, and hope to provide at least a useful caution.     

Relational Remembering and Oppression

This paper begins by discussing Sue Campbell's account of memory as she first developed it in Relational Remembering: Rethinking the Memory Wars and applied it to the context of the false memory debates. In more recent work, Campbell was working on expanding her account of relational remembering from an analysis of personal rememberings to activities of public rememberings in contexts of historic harms and, specifically, harms to Aboriginals and their communities in Canada. The goal of this paper is to draw out the moral and political implications of Campbell's account of relational remembering and thereby to extend its reach and application. As applied to Aboriginal communities, Campbell's account of relational remembering confirms but also explains the important role that Canada's Indian Residential Schools Truth and Reconciliation Commission (IRS TRC) is poised to play. It holds this promise and potential, however, only if all Canadians, Aboriginal and non‐Aboriginal, engage in a process of remembering that is relational and has the goal of building and rebuilding relationships. The paper ends by drawing attention to what relational remembering can teach us about oppression more generally.     

Is creativity a Darwinian process?

In 1960, the psychologist Donald Campbell advanced a Darwinian model of how new knowledge comes into being. This would later come to be known as “evolutionary epistemology”;. For some psychologists and historians of science interested in creativity in science and technology, the Darwinian perspective was irresistible. Thus, in 1988, the psychologist Dean Keith Simonton proposed a Darwinian model of the psychology of scientific discovery by refining Campbell's model. Recently, in 1999, Simonton has devoted an entire book to “Darwinian Perspectives on Creativity.”; In this article, I challenge the Darwinian perspective by examining three episodes taken from the histories of natural science, technology and art, respectively.     

Commentary on Malevolent Creativity

In Malevolent creativity: A functional model of creativity in terrorism and crime, Cropley, Kaufman, and Cropley (this issue) insightfully highlight two important aspects of the creative process. First, although it may not be popular nor initially obvious to discuss negatively applied, malevolent creativity, or terrorism/crime as potentially creative acts, it is certainly to our detriment not to if we truly seek to understand the full-spectrum under which the creative process operates. The second issue examined is the process by which a creative product's novelty declines with the passing of time. Each are briefly discussed.     

Interpretive Artists: A Qualitative Exploration of the Creative Process of Actors

Actors, dancers, and musicians generally are referred to as artists, but many do not originate the work they perform; rather, they interpret the work of originating artists. Past models of the creative process were based on originating artists. The purpose of this study was to explore the creative process of interpretive artists, specifically actors. To further characterize the creative process of actors, this study additionally investigated (a) the social influences that undermined or enhanced an actor's creativity, (b) the tension that occurs between an actor's personal and character identities, and (c) the need for spontaneity in the creative process of actors. Semistructured interviews were conducted with 3 actors. Content analysis revealed three stages of the creative process for actors: a general preparation period, rehearsal, and performance. This model was compared with a previous model of the creative process based on originating artists. Social influences seen as enhancing creativity were clear direction, trust, freedom, respect, challenge, collaboration, and unity with the audience. Undermining social influences included reward, poor direction, evaluation, distrust, peers who stopped listening, and feeling interchangeable. The tension between an actor's personal and character identities was characterized by catharsis and difficulty in delineating boundaries. The need for spontaneity was seen as crucial in the actor's creative process. It is suggested that the actor's creative process is more improvisational, characterized by process and product co-occurring, real-time social influences, tension between personal and performing identities, and the need for spontaneity.     

Creativity,Problem Solving,and Solution Set Sightedness: Radically Reformulating BVSR

Too often, psychological debates become polarized into dichotomous positions. Such polarization may have occurred with respect to Campbell's (1960) blind variation and selective retention (BVSR) theory of creativity. To resolve this unnecessary controversy, BVSR was radically reformulated with respect to creative problem solving. The reformulation began by defining (a) potential solution sets consisting of k possible solutions each described by their respective probability and utility values, (b) a set sightedness metric that gauges the extent to which the probabilities correspond to the utilities, and (c) a solution creativity index based on the joint improbability and utility of each solution. These definitions are then applied to representative cases in which simultaneous or sequential generate‐and‐test procedures scrutinize solution sets of variable size and with representative patterns of probabilities and utilities. The principal features of BVSR theory were then derived, including the implications of superfluity and backtracking. Critically, it was formally demonstrated that the most creative solutions must emerge from solution sets that score extremely low in sightedness. Although this preliminary revision has ample room for further development, the demonstration proves that BVSR's explanatory value does not depend on any specious association with Darwin's theory of evolution.     

Career Happiness Among Asian Americans: The Interplay Between Individualism and Interdependence

Career happiness is reexamined for relevance to non‐Western cultures. Joseph Campbell's (1968, 1972, 1988) interpretations of myth are reviewed for individualistic vs. interdependent themes and critiqued in light of Asian American vocational concerns, with examples from Chinese culture. Counselors are encouraged to reflect cultural sensitivity and understanding through collectivist interpretations of mythological archetypes and metaphors. La felicidad de la carrera se reconsidera para la aplicabilidad a culturas no‐occidentales. Las interpretaciones de Joseph Campbell (1968, 1972, 1988) del mito se revisan para individualista vs. temas interdependientes y critican en relación a Asiático Americano preocupación vocacional, con ejemplos de la cultura china. Los consejeros son alentados a reflejar la sensibilidad cultural y el entendimiento por interpretaciones colectivistas de arquetipos y metáforas mitológicos.     

Personal identity and bioethics: the state of the art

In this introduction to the special issue of Theoretical Medicine and Bioethics on the topic of personal identity and bioethics, I provide a background for the topic and then discuss the contributions in the special issue by Eric Olson, Marya Schechtman, Tim Campbell and Jeff McMahan, James Delaney and David Hershenov, and David DeGrazia.     

Transcendence as a Subset of Evolutionary Thinking: A Darwinian View of the Creative Experience

The states of transcendence and affective discontinuities as features of the creative act are posited as analogous to Darwin's theory of evolution. The intellectual essence of Darwin's argument is that randomness processed through a selection system yields purpose. Some recent studies suggest this process holds true for profound acts of creativity. Darwin's two criteria for change, randomness and a system of recognition, are examined in application to the creative act. The argument is made that extraordinary creative people use a specific selection process coupled with the ability to de-structure or randomize their mental environment. Finally, techniques are proposed to structure a creative recognition system and to de-structure the input that is processed to enhance creative results. Considerable research into creativity has been concerned with transcendent thinking, the sudden discontinuous pattern shifts that lead to wonderful new insights. Three schools of thought have attempted to explain and resolve this discontinuity. Overton and Newman (1982) describe two of these. There is the reductionist view taking the position that all creative thinking can be explained by continuous processing. Discontinuity is treated merely as a behavioral or affective phenomenon since by nature pre-conscious algorithms are unavailable for systematic inquiry. The organismic view, on the other hand, takes the lofty position that transcendence is a function of indeterminacy: ideas actually operate in earthly terms but are post-Newtonian in nature. That is, transcendent states are delocalized concepts operating beyond the tangible limitations of space and time. Attempts to measure these phenomena are doomed to the same outcome as the proverbial killing of the goose that laid the golden egg. McCarthy (1993) has recently attempted to reconcile the above positions by arguing that the answer may well be found in the field of quantum physics and elementary particle research. She proposes that nature is a duality. Creative insight and transcendence come about through the superposition of two realities, one which is “boundary-free”; the other a more conscious process which is hierarchal and “boundary-laden.” Presented here is a reductionist point of view asserting that what we consider to be transcendence — the mystical nature of creativity — is not only sequential but a subset of the evolutionary process as set forth by Charles Darwin in The Origin of Species (1859). Further, the principles of Darwin's theory may be applied to speed and improve the creative process both for individuals and groups. Other researchers in the field (Campbell, 1960, Finke, Ward, & Smith, 1992, Gruber& Davis, 1988, Kantorovich, 1993; Simonton, 1988), have invoked evolutionary thinking to explain the creative process. However, this argument looks at the two properties of evolution necessary for its function and shows how in highly creative people they may operate differently.     

The Child Thought Long Dead Sings through Dylan Thomas in “Poem in October”

Was Dylan Thomas's reunion with the child he had been—the child he had thought long dead who sings through him in “Poem in October”—the catalyst of a former student's recovery from depression? Inspiring this question is this student who had suffered recurring autumnal depression, who shared with Thomas a birthday in October, and who claimed sustained recovery in late November after having studied this poem with his peers in October—a claim supported by his remarkably animated glow, without regressions in subsequent years. In other words, had the student identified with the poem's epiphany—the poet's mysterious reunion with the child he had been and the amazing rebirth of the child's voice from whispering to singing through him—what Jung called the “gift of love”? In response, this study examines the poem's epiphany and its effects upon Thomas's creative vision relative to what Stephen Rojcewicz finds so vital to self-transformation: the created metaphor, translation, transport, and transference that not only evoke the presence of divinity in nature, but also, according to C. G. Jung, participate in a divine creative process. The study concludes with a tentative “yes” to the question, a “yes” resonant with the student's claim in early December, “I have never felt so creative!”     

Serendipity in the Theater: Maude Adams as James M. Barrie's American Muse

A special niche in theatre history is addressed to begin to fill a void in the contemporary creativity literature. The present essay focuses on Maude Adams and James M. Barrie in an attempt to demonstrate that, serendipitously, Adams initially impacted Barrie's creative process, and thereafter became his platonic source of inspiration for the plays he created for her, meriting the belated title of muse. Set change theory is underscored as a plausible cognitive explanation for Barrie's illumination. The psychoanalytic theory of transference is proposed as an underlying mechanism for facilitating the change of mental set during the incubation stage. A brief discussion on a selective theoretical integration from the fields of cognitive psychology, psychoanalysis, and neuroscience is followed by conclusions.     

Creative Cognition in Social Innovation

The present article considers the debate between Darwinian and non-Darwinian accounts of creativity from the perspective of little-c (or everyday) creativity. Specifically, the basic arguments found in both positions are highlighted by juxtaposing Simonton's (this issue) empirical analysis of Picasso's Guernica sketches with Weisberg's and Hass's (this issue) analysis. Unresolved issues in this debate are identified and discussed. The body of the article is focused on developing an argument for how these lingering issues might be addressed by expanding empirical studies of Big C (eminent) creative processes to include little c (or everyday) levels of creative magnitude.     

CREATIVE MUTUAL INTERACTION IN ACTION

In this article, I describe a multidisciplinary project at the interface of philosophy, science, and theology. The project is the product of an ongoing collaboration between the author and Christopher Southgate, to whom this special issue of Zygon is dedicated. At the philosophical core of the project is a development of C. S. Peirce's semiotics (theory of signs). The scientific branch of the project involves the application of semiotic theory to the problem of the origin of life, and to questions about human evolution and human distinctiveness. The theological branch of the project involves the articulation of a semiotic approach to the Christian concepts of Incarnation and Trinity, and to the ideas of vestiges of the Trinity in creation and of participation in God's life. The purpose of this paper is to analyze the project in terms of Robert John Russell's model of ‘creative mutual interaction’ between science and theology.     

Vygotsky's Theory of Creativity

In Educational Psychology (1997/1926), Vygotsky pleaded for a realistic approach to children's literature. He is, among other things, critical of Chukovsky's story "Crocodile" and maintains that this story deals with nonsense and gibberish, without social relevance. This approach Vygotsky would leave soon, and, in Psychology of Art (1971/1925), in which he develops his theory of art, he talks about connections between nursery rhymes and children's play, exactly as the story of Chukovsky had done with the following argument: By dragging a child into a topsy-turvy world, we help his intellect work and his perception of reality. In his book Imagination and Creativity in Childhood (1995/1930), Vygotsky goes further and develops his theory of creativity. The book describes how Vygotsky regards the creative process of the human consciousness, the link between emotion and thought, and the role of the imagination. To Vygotsky, this brings to the fore the issue of the link between reality and imagination, and he discusses the issue of reproduction and creativity, both of which relate to the entire scope of human activity. Interpretations of Vygotsky in the 1990s have stressed the role of literature and the development of a cultural approach to psychology and education. It has been overlooked that Vygotsky started his career with work on the psychology of art.     

REJOINDER: Picasso's Guernica Creativity as a Darwinian Process: Definitions,Clarifications, Misconceptions,and Applications

The author responds to four commentaries on Simonton (this issue). The response deals with two sets of issues. First are criticisms of the Darwinian theory of creativity, especially as applied to Picasso's sketches for the Guernica. These criticisms range from the presumed role of associative processes to the essential nature of any Darwinian model. The second set of issues pertains to diverse methodological objections with respect to measurement and data analysis. The author responds to each and every point. The author concludes not only that Picasso's creative process is best described as Darwinian, but also that the Darwinian theory of creativity has been notably strengthened by the current exchange.     

Millennium as Opportunity: Chaos,Creativity, and Guilford's Structure of Intellect Model

In this new millennium, our prospects for creative change may be particularly fluid. Chaos theory is used metaphorically to address aspects of creative process we therefore might note well, linking these both with (a) the operations, products, and contents dimensions of J. P. Guilford's structure of intellect (SI) model and (b) healthier balances we can create between Guilford's divergent and convergent production, both within individuals and cultures. Divergent production, a key operation in Guilford's model, may be viewed both as the major departure it was half a century ago and via the dramatic emergences we see today using a nonlinear dynamic of creativity. The intersection of divergent production with Guilford's products dimension might be linked to multiple creative processes we can ponder metaphorically as strange attractors, and attractor complexes, in a dynamic phase space of mind. Such attractors might trap as well as free us, however, and potential examples are given involving abstraction, unconscious processes, and socially restrictive models of normalcy. Next, Guilford's diverse content areas remind us of aspects of our-indeed, dynamically connected-experience as human beings that may be artificially disconnected and underemphasized in traditional education. All divergent processing operates within a larger context, and its tension with convergent processes contains potential for creative leaps and bifurcations, discussed at both the social and individual levels. Preliminary data on aesthetic preference suggest creative people also may seek challenges and chaotic attractors of higher "dimensionality"; this may help drive the process. Finally, a societal shift toward greater creative openness and growth is recommended, based on advantages for physical and psychological health, and clues to paths that nature finds adaptive. Chaos theory gives us models and metaphors based on an ever more rapid, sensitive, and holistic nonlinear creative process; this can honor one's mental history and complex preconditions while responding instantly to information as subtle as a puff of air. Now, when global change is needed badly, we can use this potential malleability to evolve together toward a healthier future.     

SOME CORRELATIONS BETWEEN METHODS OF KNOWING AND THEOLOGICAL CONCEPTS IN ARTHUR PEACOCKE'S PERSONALISTIC PANENTHEISM AND NONPERSONAL NATURALISTIC THEISM

Differences in methods of knowing correlate with differences in concepts about what is known. This is an underlying issue in science and religion. It is seen, first, in Arthur Peacocke's reasoning about God as transcendent and personal, is based on an assumption of correlative thinking that like causes like. This contrasts with a notion of causation in empirical science, which explains the emergence of new phenomena as originating from temporally prior phenomena quite unlike that which emerges. The scientific understanding of causation is compatible with a naturalistic theism that holds a nonpersonal model of God as the creative process. However, focusing on the immanence of God, there is a second correlation between methods of knowing and concepts of God. Classical empiricism, used by science, correlates with God understood nonpersonally as the creative process. Radical empiricism, in which feelings and not only sense perceptions have cognitive import, opens up the possibility that one can experience Peacocke's personal, panentheistic God as pattern‐forming influence. I illustrate this second method‐concept correlation with a personal experience.