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.     

Getting started: Charles Darwin's early steps toward a creative life in science

Charles Darwin's original and important contributions to science resulted from commitment, persistence, and hard work throughout his adult life. How, when, and where Darwin developed these prerequisites for creative thinking is the focus of this paper. Using a cognitive case study approach to examine the rich record of Darwin's life and work indicates that the 1 &frac; years he spent in Edinburgh as a medical student when he was 16–18 years old was the major turning point in his transformation from a hobbyist into a scientist. Darwin first found hisvoice in science in Edinburgh during late adolescence.     

Thinking about multiple identities boosts children’s flexible thinking

Studies of children's developing social identification often focus on individual forms of identity. Yet, everyone has multiple potential identities. Here we investigated whether making children aware of their multifaceted identities—effectively seeing themselves from multiple angles—would promote their flexible thinking. In Experiment 1, 6‐ to 7‐year‐old children (N = 48) were assigned to either a Multiple‐Identities condition where they were led to consider their multiple identities (e.g. friend, neighbor) or to a Physical‐Traits condition where they considered their multiple physical attributes (e.g. legs, arms). Children in the Multiple‐Identity condition subsequently expressed greater flexibility at problem‐solving and categorization than children in the Physical‐Traits condition. Experiment 2 (N = 72) replicated these findings with a new sample of 6‐ to 7‐year‐old children and demonstrated that a Multiple‐Identity mindset must be self‐relevant. Children who were led to think about another child's multiple identities did not express as much subsequent creative thinking as did children who thought about their own multiple identities. Experiment 3 (N = 76) showed that a Mmultiple‐Identity framework may be particularly effective when the identities are presented via generic language suggesting that they are enduring traits (in this case, identities depicted as noun phrases rather than verbal phrases). These findings illustrate that something as simple as thinking about one's identity from multiple angles could serve as a tool to help reduce rigid thinking, which might increase open‐mindedness in a society that is becoming increasingly diverse.     

Creativity at the Crossroads: Pragmatic Versus Humanist Claims in Education Reform Speeches

Obama's, and other policymakers’, speeches claim that creativity—the ability to derive novel, excellent and relevant ideas and products—is a valuable student asset for the 21st century, but why? Two types of rhetorical appeals to long-held educational values in these speeches are examined: pragmatic claims about student creativity focus on economic recovery, which implies a need to teach and research the link between creativity, academic success and workforce preparation. In contrast, humanist claims about student creativity emphasize a teaching and research agenda of promoting self-realization, cultural identity formation, and aesthetic learning principles, which include empathy and emotional awareness in addition to cognitive aspects of creative thinking and problem solving. These rhetorical appeals are examined in light of education reform and directions in art education.     

Constructivism and education: education as an interpretative transformational process

This paper provides an analysis of the ideas of John Dewey and George Herbert Mead with regards the relationship between experience, meaning, language and thinking. It discusses how experience, meaning, language and thinking are based on the creative and constructive actions of individuals. Unlike what is the case in so-called radical constructivism, it is argued that the actions of the individual should be understood in a transactional way. The paper shows the implication of a transactional constructivism for education, arguing that education is the medium in which the creative and constructive actions of individuals come together in a social environment.     

Intersubjective Distinctions: Subjects and Persons,Recognitions and Breakdowns: Commentary on Paper by Gerhardt,Sweetnam, and Borton

This paper on Bollas is part 2 of a series presenting the work of three contemporary theorists whose ideas are associated with the intersubjective turn in psychoanalysis. Part 1, on Benjamin, appeared in an earlier issue of Psychoanalytic Dialogues (Vol. 10, No. 1); Part 3, on Ehrenberg, will appear in a subsequent issue. The present paper presents the work of Christopher Bollas and attempts to show how his ideas have evolved in a more intersubjective direction over time without losing touch with what is paradigmatically psychoanalytic. Although our own authorial positioning is never quite declared, as our intention was to write a representational text characterizing Bollas's thinking regarding the issue of intersubjectivity, we have come to realize the unannounced selectivity of our interpretive position or biases—biases that never quite speak their name yet, as in all unnamed/disclaimed actions, exert their influence throughout. Not surprising for a paper on the intersubjective turn. Nevertheless, it should be noted that our intent was to foreground Bollas's theorizing as related to the intersubjective turn in its own right—indeed, to get lost in the dense foliage of his rich and generous theoretical-clinical thinking, as he in turn gets lost in the underground maze of his patient's inner world. What should be stated from the outset is that the tradition of cosmopolitan humanistic learning can be heard like the overtones of a gorgeous chord throughout all of Bollas's deeply thoughtful work and illustrates the layerings of self resounding in the conscious-unconscious psyche. Indeed, Bollas serves as one of the most creative interlocutors of unconscious processes, superbly adequate to the task of sleuthing the twists and turns of the unconscious as lived out through the self's idiomatic ways of being in the world.     

Teachers’ Beliefs of Creative Children

Teachers’ beliefs about characteristics of creative children do not always align with how creative children actually behave. Understanding these misaligned beliefs—defined as misconceptions—is important because teachers’ misconceptions can undermine efforts to foster children's creative development. This study aimed to identify teachers’ beliefs about the characteristics of creative children with an emphasis on their misconceptions about characteristics as either indicative or contraindicative of creative children. We analyzed responses of 136 teachers to 29 characteristics, indicating or contraindicating creative children, on Gough's (1979). Creative Personality Scale using the Rating Scale Model. Results revealed that teachers tended to have more misconceptions about characteristics contraindicative of creative children than characteristics indicative of creative children while teachers were able to accurately recognize certain characteristics when compared with explicit theories of creativity. In both the indicative and contraindicative characteristics, misconceptions appeared to increase if characteristics were desirable in the classroom. Teachers’ misconceptions may conceal creative potential in children who do not manage their undesirable characteristics in constructive ways. Findings provide practical implications to aid teachers and teacher educators in correcting misconceptions about the characteristics of creative children.     

CONTINENTAL PHILOSOPHY: THINKING THE CORPOREAL WITH THE POLITICAL

This paper provides a genealogy of the emergence of one thread of continental philosophy—“thinking the corporeal with the political”—from its roots in the “French readings” of key philosophers during the 1960s and 1970s to its development outside of Europe. This involves characterizing continental philosophy as a style of thinking that is historical, creative, and ontological. As the genealogy takes in the French readings of Nietzsche and a range of developments such as corporeal feminisms, biopolitical analysis, and conceptions of political community, the analysis demonstrates that continental philosophy, even when confined to one line of inquiry, is a collaborative effort energized by Anglophone philosophy and that it is multifaceted, dynamic, and fecund.     

Creativity of university students: What is the impact of field and year of study?

There is a long‐lasting dispute about development of students' creativity in the course of their university education. Both the duration and major field of study may represent the educational effects. To address the issue, the present study collected data (N = 859) from a series of surveys of students in Hong Kong to clarify educational effects by controlling a number of background characteristics and prior scores on creativity. Apart from measuring self‐reported creative traits and creative products, it measured divergent thinking with five tasks to elicit students' creative ideas, which led to scores of fluency, flexibility, novelty, innovativeness, and originality. Results indicate the trend of monotonic decline in creativity with years of study at university and the general superiority of verbal creativity among students of humanities and social sciences, whereas business students had the highest scores on self‐assessed creative traits and products.     

Minimalism deflated: independence without substance

The paper examines Wright’s attempt to inflate deflationism about truth. It accepts the details of Wright’s argument but contends that it should best be seen as posing a dilemma for the deflationist: either truth is independent of norms of warranted assertibility—in which case it is substantial—or it is not—in which case epistemicism about truth is a consequence. Some concerns about epistemicism are raised in avoiding the second horn. The first is avoided by distinguishing between independence and substantiality and arguing that only the first applies to truth and only the second is worrisome to deflationism. So, despite its sub-title, the following is not a diatribe against Home Rule but a modest defence of deflationism.     

Predicting Work Activities with Divergent Thinking Tests: A Longitudinal Study

This study examined whether divergent thinking test scores obtained from engineering students during college predicted creative work activities fifteen years later. Results showed that a subscore of the Owens Creativity Test, which assesses divergent thinking about mechanical objects, correlated significantly with self‐ratings of creative work activities and number of patent submissions. An overall divergent thinking score obtained from the Structure of the Intellect Learning Abilities Test (SOI‐ELCT), however, did not correlate significantly with either creative work activities or patent submissions. Practical and theoretical implications of the results are discussed.     

The Structure of Creative Thinking: Visual and Verbal Areas

The main purpose of this study was to study the structure of creative thinking of students in visual and verbal areas. The Torrance Test of Creative Thinking Figural and Verbal forms were used. The participants were Turkish elementary school 7th grade students (M = 13 years, range = 12–14 years). The findings indicated that the relationship between visual and verbal areas of creative thinking of students were statistically significant and meaningful. Additionally, gender differences were statistically significant and meaningful. The results indicate that the structure of creative thinking of students is holistic in early puberty age, at least in terms of visual and verbal areas of creative thinking. However, the holistic structure of students’ creative thinking has flexible character regarding to low (r = .25) level of relationship between visual and verbal areas. This result suggests that the visual and verbal materials can be used with presentation and narrative techniques in balanced education activities for the development of students’ creative thinking effectively.     

预期交流与创造力的关系:解释水平的调节作用

该研究探讨了预期交流对创造力的影响, 以及解释水平在其中的调节作用。实验1采用结构性想象任务探讨预期交流是否影响创造力。结果表明, 相较于没有预期交流, 预期交流条件下的个体表现出更高的创造力。实验2采取了创意产生任务, 并探讨了解释水平在其中的调节作用。结果表明, 当完成抽象的、高解释水平任务时, 相较于无预期交流, 预期交流条件下个体在新奇性和变通性两个维度上表现出了更高的创造力; 当完成具体的、低解释水平任务时, 预期交流的效应不复存在。也就是说, 只有当创造力任务要求高解释水平的抽象思维时, 预期交流才能促进创造力的发挥。总结而言, 本研究在过往对于交流与创造力以及解释水平与创造力的研究基础上进一步发现, 对于抽象创造力任务, 虽然真正的信息交流尚未发生, 但仅仅对于交流的预期就会提高创造力水平。     

创造性思维与认知抑制的关系

抑制是创造性思维过程中的一种重要的认知加工机制。创造性思维与认知抑制的关系主要有三种观点：创造性思维的认知去抑制假说、认知抑制假说和适应性认知抑制假说。本文系统评述了创造性思维与认知抑制关系的相关理论、研究新进展和神经机制。未来研究应加强创造性思维与认知抑制关系的理论整合与构建,分析创造性思维的不同阶段的认知抑制机制,采用无意抑制与有意抑制研究范式,对创造性思维与认知抑制的关系、影响因素及神经机制进行深入研究。     

Review Essay: Constructivism with a Human Face

Irwin Hoffman's book Ritual and Spontaneity includes, but goes well beyond, his series of seminal papers—written over the past several decades—developing a psychoanalytic, constructivist perspective. A new, existential framework depicts what Hoffman calls the “psychobiological bedrock” at the core of the human process of constructing meaning—the lifelong effort to create a livable, subjective world in face of our ever present sense of loss, suffering, and, ultimately, mortality.

This review describes Hoffman's encompassing, existential perspective and discusses how, within this framework, he uses his dialectical sensibility to frame our understanding of both parenting and analysis as “semisacred” activities. The “dialectic of ritual and spontaneity”—the vital clash between disciplined adherence to the analytic frame and personally expressive deviations from it—represents the creative tension between the “magical” dimension of analytic authority and the healing influence of a genuinely expressive human relationship. Hoffman's perspective on the self-interested, “dark side” of the analytic relationship is compared with Winnicott's views on the vital, therapeutic role of “hate” and the paradoxical process by which the patient comes to “use” the analyst.

Unlike most postmodernist “constructivists,” Hoffman openly reveals his underlying belief in certain “transcultural, transhistorical universals”—his “psychobiological bedrock.” In acknowledging these “essentials” (assumptions about human nature) that in some form are integral, yet often hidden, elements of any system of thought, Hoffman saves his own dialectical constructivism from falling into dichotomous (constructivist vs. essentialist) thinking.     

Deep, dark…or transparent? Knowing our desires

The idea that introspection is transparent—that we know our minds by looking out to the world, not inwards towards some mental item—seems quite appealing when we think about belief. It seems that we know our beliefs by attending to their content; I know that I believe there is a café nearby by thinking about the streets near me, and not by thinking directly about my mind. Such an account is thought to have several advantages—for example, it is thought to avoid the need to posit any extra mental faculties peculiar to introspection. In this paper I discuss recent attempts to extend this kind of outwards-looking account to our introspective knowledge of desire. According to these accounts, we know our desires by attending to what in the world we judge to be valuable. This, however, does not deal satisfactorily with cases where my value judgments and introspective knowledge of my desires come apart. I propose a better alternative for the proponent of transparency, but one that requires giving up on the supposed metaphysical advantages.     

Sex differences in instructions to "be creative" on divergent and nondivergent test scores

Harrington (1975) found that both the magnitude and meaning of male subject scores on the Alternate Uses Test were altered by explicit instructions to “be creative,” and argued for the necessity of such instructions, plus qualitative scoring criteria, in the employment of tests of creativity. The present study elaborated upon this study by including female subjects, more than one test of divergent thinking and a test of nondivergent thinking. Instructions to be creative increased the proportion of creative responses output for both males and females, and sharpened correlations with Adjective Check List personality scales. Instructions did not alter performance on the nondivergent test. These results were interpreted to mean the instructions elicited strategies particularly relevant to divergent thinking and ruled out nonspecific effects such as those due to motivation. A reliable sex-difference in ideational fluency was also observed: instructions to be creative facilitated the total number of responses output for the male subjects. This supports a hypothesis that the instructions disambiguate I he test situation differently for men and women, suggesting the need to isolate individual conceptions of creativity in order to maximize test performance.     

Domain‐General and Domain‐Specific Creative‐Thinking Tests: Effects of Gender and Item Content on Test Performance

The study examined the effects of gender and item content of domain‐general and domain‐specific creative‐thinking tests on four subscale scores of creative‐thinking (fluency, flexibility, originality, and elaboration). Chinese tenth‐grade students (234 males and 244 females) participated in the study. Domain‐general creative thinking was measured by using two domain‐independent items—box and newspaper. Domain‐specific creative thinking was measured in the domain of history by two history‐specific items—school uniform and health food—that were part of lessons in modern Chinese history. Domain‐general creative‐thinking scores were not different across gender in any of the four subscales. In domain‐specific creative thinking, female students produced more responses (fluency) and more categories of ideas (flexibility), and more detailed answers (elaboration) on both items than did males. Gender difference was not found in originality. Item effects were significant in both general and specific creative‐thinking scores, with higher fluency, flexibility, and elaboration for the newspaper than the box item, and higher fluency, flexibility, originality, and elaboration for the school uniform than the health food item. The findings on both gender and item effects support the contention that personal interest and life experience influence the generation of creative solutions. The finding that gender did not differ in domain‐general creative‐thinking was expected, as the two general items (box and newspaper) are experienced similarly by both genders. As most of the creative‐thinking tests are influenced by individuals' experience beyond creative‐thinking ability, judicial evaluation and use of creative‐thinking scores are underscored.     

ON LOVE AND MELANCHOLIA IN MARGUERITE DURAS'S AUTOFICTION

In the Durassian melancholic atmosphere, past and present, fantasy and reality come together as one. This paper addresses the themes of love and destruction in Marguerite Duras's life that pervade her oeuvre, allowing us to discern a melancholic structure within her autofiction. Writing down her melancholia—the impossible mourning of a loved object—Duras captures nothingness and loss—in order not to die of love. In a constant exchange with her readers, she searches for herself and delivers herself to her readers. This renewable creative process of writing enables her to engage in an ongoing experience of identity reconstruction, in a way similar to the patient in psychoanalysis re‐creating his/her life's fiction.