The paradox of creativity

Creativity seems to yield survival and reproductive benefits. Creative behaviors allow individuals to solve problems in new and appropriate ways, and thus to promote their survival. They also facilitate bonding and constitute a signal of one's fitness, favoring attraction of mates. However, to be creative, individuals often have to violate social norms in order to promote change. So far, this deviance induced by creative behaviors had not been seen as an adaptive disadvantage. This deviance entails negative consequences as social exclusion or ostracism, which are detrimental for both survival (e.g., reduced access to resources within the group) and reproduction (reduced reproductive fitness). Thus, the adaptive benefits yielded by creativity have to be nuanced by these potential disadvantages. The paradox of creativity proposes a finer-grained vision of the adaptive reasons why creativity has been maintained within the human species, has evolved, and is collectively regulated. Research perspectives are also proposed.     

The landscapes of minus. Hatred,adolescence and the paradoxes of growth

This paper explores Bion’s theory of links, L, H, K (Love, Hate and Knowledge) and their minus counterparts, -L, -H, -K, which are not conceivable as simply opposite to or as a lack of L, H, K. Rather, they correspond to a way of experiencing Love, Hatred and Knowledge in terms of absoluteness, and in terms of a radical impossibility of acknowledging loss, relativeness and absence. The theory of links is also examined in its evolution towards the conceptualization of three types of container/contained configurations (commensal, symbiotic and parasitic). These Bionian models are compared and referred to the way Jung articulates the coexistence of ‘good’ and ‘evil’, and the paradoxical nature of mental functioning in relation to the individuation process. The images taken from the Rosarium Philosophorum, particularly the Fons Mercurialis, examined by Jung in ‘The psychology of the transference’ (1946), are explored in the paper. Theory is examined with a particular focus on the adolescent mind and its dramatic phenomenology. Two excerpts taken from the analytic work with a mid-adolescent female patient and a late-adolescent male patient are presented to describe minus-Hate as a form of absolute love, and minus-Love as a form of absolute hatred.