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 (1,494 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.     

Can People Creative in Imagery Interpret Ambiguous Figures Faster than People Less Creative in Imagery?

The purpose of the research study was to investigate whether people creative in imagery are better than people non‐creative in imagery at interpreting ambiguous figures. Creativity, in the imagery paradigm, is said to involve two processes: combinational play and discovery. Discovery plays a major role in creativity as it is the process of discerning, judging or interpreting the value of a mental construction. Furthermore, creative people have been said to be insightful thus supporting the proposition advanced here that people creative in imagery are faster at interpreting and finding alternative interpretations for ambiguous figures than people less creative in imagery. This study reports both latencies and discoveries in perception and mental imagery as measured on a figure combination task. The data support the conclusion that people creative in imagery are more capable in reinterpreting ambiguous figures and that they are quicker in their discoveries than people less creative in imagery. The analysis to the questions of how the subjects arrived at their discoveries may also illustrate the Gestalt literature on insight as a rapid pattern recognition.     

科学发明问题解决的脑机制再探

选取高生态学效度的科学发明问题作为实验材料, 采用“学习−测试”的两阶段实验范式, 利用静息态功能磁共振成像技术, 基于局部一致性(ReHo)和低频振幅(ALFF)的分析方法, 研究科学发明问题解决的神经机制。在控制被试性别、年龄和常规性问题解决能力后, 结果发现左侧前扣带回(Anterior Cingulate Cortex, ACC)的ReHo值和个体科学发明问题解决的正确率显著正相关, ALFF的结果同样印证了这一发现。结果强调了ACC在科学发明问题解决过程中的重要作用。     

THE BIOLOGIST AS PSYCHOLOGIST: HENRY FAIRFIELD OSBORN'S EARLY MENTAL ABILITY INVESTIGATIONS

In the early 1880s, biologist Henry Fairfield Osborn conducted some of the first questionnaire research in American psychology. This article details how he came to distribute Francis Galton's questionnaire on mental imagery in the United States, as well as how he altered it to suit his own burgeoning psychological research interests. The development and circulation of questionnaires at the very beginning of American scientific psychology, first by Osborn and later by G. Stanley Hall, is discussed in terms of the new psychology's often‐overlooked methodological plurality. Further, Osborn's late nineteenth century interest in individual variation and group differences in mental imagery ability are discussed in relation to his pervasive educational and social concerns, as well as his eventual status as a prominent eugenicist in the twentieth century United States. This research into mental imagery ability foreshadows the eugenic‐oriented intelligence testing that developed in the early twentieth century.     

论创造阈

创造阈是人观念地把握了的某一文化领域的现状与所期望的目的之间的、处在意识领域边缘的、具体实现创造思维的心理区域 ,是人通过长期的学习、积累和广阔自由的思维探索 ,特别是通过比较、质疑、直觉思维而建构起来的一个心理区域。问题、概念、论题、纲要、要求、意念等是创造阈的具体存在形态     

中国古代心理思想中的感应观念

与主流心理学所采用的机械因果观念不同的是,中国古代心理思想所采用的是类似于现代物理学“场”概念的感应观念。其特征是：注重整体性、远距作用及象征意义。感应以关系为核心,具有主体间性、创造性、象征性。受感应观念影响,中国古代心理思想认为可以通过修养工夫恢复人心的本来状态,道家关心如何对来感者作出回应,儒家则重视以真诚的感唤起对方的应。在实践方面,人际交往之对等回报原则、与理想人格相感通的诠释途径、“德政”的治国理念、教学相长的教育方法、培养感性以承担责任的道德发展观,都体现了感应观念。感应观与因果观形成互补关系,可扩大心理学的视野,在异化的世界里恢复生命的意义感     

跨学科概念图创作能力与科学创造力的关系

采用科学领域的跨学科概念图创作任务, 探讨了跨学科概念图创作能力与科学创造力的关系。研究发现：（1）跨学科概念图创作能力与科学创造力显著正相关;（2）概念图创作的命题、交叉连接与创造力的流畅性、独创性、灵活性显著相关;交叉连接与独创性显著相关;（3）跨学科概念图创作能力的个体差异表现在科学创造力的各个方面。研究表明,跨学科概念图创作任务与科学创造力测验考察了学习者相似的心理能力;跨学科概念图创作不仅可以用于促进跨学科信息整合和知识建构,还可以作为理解学习者创造性思维能力的有效工具     

Schizotypy and mental time travel

Mental time travel is the capacity to imagine the autobiographical past and future. Schizotypy is a dimensional measure of psychosis-like traits found to be associated with creativity and imagination. Here, we examine the phenomenological qualities of mental time travel in highly schizotypal individuals. After recollecting past episodes (autobiographical memory) and imagining future events (episodic future thinking), those scoring highly on positive schizotypy reported a greater sense of ‘autonoetic awareness,’ defined as a greater feeling of mental time travel and re-living/‘pre-living’ imagined events. Furthermore, in contrast to other sensory domains, imagery of the past and future episodes contained more olfactory detail in these high scorers. The results are discussed in relation to previous reports of anomalous olfactory experiences in schizotypy and heightened vividness of olfactory imagery in post-traumatic stress disorder, for which schizotypy is a risk factor.     

关于心理表象训练新程序的探讨

本论文对日本新近开发的心理表象训练程序(简称MITP)进行了概要的介绍,并在此基础上分析讨论了有关表象训练的理论问题,认为动觉表象、视觉表象和想象表象的有机结合运用是提高心理训练效果的良好途径,但如何提高练习者的表象机能水平(如表象的清晰准确性、鲜明生动性以及对表象的操作控制能力等)则是表象训练所面临的最大难题。     

Taoistic Psychology of Creativity

In this paper, Lao Tzu's Tao is psychologically reinterpreted in terms of Taoistic cognition, Taoistic objectivity, and Taoistic creativity. All of these three domains are interrelated and are characterized by the attitude of let-be. Taoistic cognition is mainly a kind of intuition or personal knowledge. Taoistic objectivity is interpreted by will-free motivation which allow others to be and to obtain insight. Taoistic creativity involves incubation, syntectic thinking, and the unification through the opposites. Lao Tzu's Taoism is mainly related to artistic creativity, but its influence on mental health and scientific creativity is also discussed.     

Imagery and meaning,the cognitive science connection

Taking the integrated viewpoints of causal theory of reference, cognitive science and the notion of correspondence principles from physics, this paper addresses the problems of creativity, the nature of visual imagery and the manner in which science progresses.     

高二理科生物理问题创造性解决的表象特征研究

物理问题创造性解决是一个发散思维和聚合思维交替运行的过程,而表象对问题的创造性解决具有重要作用。本研究通过自编的物理问题对天津市某中学109名高二理科学生进行物理问题创造性解决测验,探讨高中理科学生物理问题创造性解决中的表象特征。验证了表象与物理问题创造性解决中的发散思维具有显著的正相关,与聚合思维无显著相关。对109名高二理科学生K聚类分析发现：物理问题解决过程中,高创造性和中等程度创造性的学生人数较少,而低创造性的学生人数较多;表象丰富性很高和较高的学生较少,表象丰富性较低的学生较多。     

Convergent Thinking Moderates the Relationship between Divergent Thinking and Scientific Creativity

Creativity plays an important role in human society as well as in individual development, and creativity in the domain of science is a specific form. A body of research had demonstrated the role of divergent thinking in creativity. The role of convergent thinking had also been recognized, but more empirical evidence was needed. To investigate the interaction between convergent and divergent thinking on adolescent scientific creativity, the current study tested 588 high school students. The results showed that convergent thinking interacted with fluency/flexibility of divergent thinking on scientific creativity. In particular, divergent thinking predicted creativity in those high in convergent thinking. Findings suggested a threshold-setting effect of convergent thinking, which meant only when convergent thinking capacity reached a certain level, divergent thinking could play a role in scientific creativity. Implications for future research and educational practice were discussed.     

辱虐管理与员工创造力：心理契约破坏和中庸思维的不同作用

近年来, 辱虐管理与员工创造力的关系受到越来越多研究者的关注。在以往研究的基础上, 本研究构建了一个有调节的中介作用模型, 以探讨中国文化情境下辱虐管理影响员工创造力的中介心理机制及边界条件。采用多阶段-多来源的策略, 以93名主管和369名员工为对象, 通过多水平结构方程建模技术对三阶段主管-员工配对调查所获取的数据进行分析, 结果表明：主管的辱虐管理行为会通过心理契约破坏的中介作用, 对员工创造力产生间接的消极影响; 但该负向的间接关系的强度对高中庸思维者而言较弱。本研究有助于揭示辱虐管理影响员工创造力的心理机制及边界条件, 研究结果对企业员工创造力及创新行为的管理实践也有一定启示。     

Createativity and Mood: Towards a Model of Cognitive Mediation

Empirical and biographical evidence reveals that the highly creative are more likely to experience mental health problems; most commonly depression and particularly within artistic fields. Cognitive theories of creative thinking suggest that artistic creativity may be associated with a divergent style of thinking, which is distinguished by specific differences with respect to logical appraisal skills. As similar patterns of appraisal are frequently found in those experiencing depression, it is suggested that appraisal may be a mediating feature between creativity and affect. This hypothesis is tested in the present study. Creativity, cognitive appraisal patterns and mood were measured in 104 undergraduate students (N = 36 art and 68 science) by standardised assessments. In keeping with predictions, art students were found to be more creative, experienced lower mood, and displayed greater degrees of distortion and bias in their appraisals.     

Motivation and creativity: Toward a synthesis of structural and energistic approaches to cognition

Cognitive scientists who model creative thinking on computers claim that the ability of their programs to replicate the discovery of scientific laws (e.g., Kepler's third law from Brahe's data) means that creative thinking in humans is nothing but problem solving of the kind computer heuristics use. This claim is shown to be a mystification based on a misunderstanding of creativity, on unrealistic replications of the initial conditions present at the inception of creative processes, and on a misleading identification of rationality with complex human thought processes. Some of the implications of such mystification for understanding thought processes in general are reviewed.     

Einstein’s jacket: Evidence for long-term perceptual specificity in mental imagery

To what extent are visual fantasies constrained by our perceptual experience of the real world? Our study exploits the fact that people’s knowledge of the appearance of individuals from the early 20th Century (e.g., Albert Einstein, Winston Churchill) derives predominantly from viewing black-and-white media images. An initial experiment shows that mental imagery for individuals from this period are experienced as significantly less colourful than imagery for individuals from the era of colour media. A second experiment manipulated whether participants were instructed to explicitly imagine using colour or not (i.e., “imagine Albert Einstein wearing a green jacket” vs. “imagine Albert Einstein wearing a jacket”). Results show that colour manipulation only influences imagery for black-and-white era individuals, with no comparable effect on imagery for colour era individuals. This finding is replicated in a third experiment that includes an additional control condition of imagining generic characters (i.e., “Imagine a knight wearing a cloak” vs. “imagine a knight wearing a red cloak”). Again, only imagery for black-and-white era individuals is affected by the colour manipulation. Overall these results provide evidence for long-term perceptual specificity effects in mental imagery. We argue that visual fantasies can be constrained by surface features of underlying representations in memory, even when imagining something we have never directly perceived.     

The Two Faces of Mental Imagery

Mental imagery has often been taken to be equivalent to “sensory imagination”, the perception-like type of imagination at play when, for example, one visually imagines a flower when none is there, or auditorily imagines a music passage while wearing earplugs. I contend that the equation of mental imagery with sensory imagination stems from a confusion between two senses of mental imagery. In the first sense, mental imagery is used to refer to a psychological attitude, which is perception-like in nature. In the second sense, mental imagery refers to a mental content, which can be grasped via different attitudes. I will show that failure to acknowledge the distinction between these senses of mental imagery has muddled philosophical discussion. This distinction brings much needed clarity to debates where sensory imagination and mental imagery are invoked, shedding light on issues such as the nature of imagistic mental states, and the representational powers and limits of mental imagery. I will conclude by sketching a general attitudinal account of imagination that does justice to both senses of mental imagery, outlining a promising framework for understanding imagination.     

Presymbolic Processes in Scientific Creativity

Most accounts of scientific thinking emphasize the role of symbolic recombinations as the source of creativity. This misses the important role that presymbolic processes may play. This article argues that the relative neglect is, in part, due to erroneous models of explanation, which dominate much of the literature, and argues instead for a model of explanation based on an analogy to dynamic physical systems. As an example, some of Michael Faraday's work is described and analyzed using dynamic approaches in an informal manner. The results suggest that, using William James's (1890) phrasing, it is possible to seek a 'reinstatement of the vague to its proper place in the mental life.'