A FEELING FOR THE FUTURE: THE PROCESS OF CHANGE AS EXPLORED BY FRED. L. POLAK AND BARBARA McCLINTOCK

Abstract. Fred. L. Polak explored the mechanisms of social change in terms of “future—visions” held by a community. The future, says Polak, participates actively in the present, providing part of the context within which today's decisions are made. Barbara McClintock acquired her insights in maize genetics by developing “a feeling for the organism.” New insights, she maintains, emerge through a mutual relationship between researcher and subject. Though scholars in different fields, both acknowledge the power of images in the creative process. There is a difference in the extent to which each scientist perceives this power to be available to create new ideas.     

CREATIVITY IN SCIENCE

Abstract. Creativity is a concept far more often associated with art than with science. The creative dimension of scientific inquiry and practice is described and compared with its artistic counterpart; similarities and differences are analyzed.     

Escaping to the Angels: A Note on the Passing of the Manic Defence

This essay examines how some psychologically adroit individuals use creativity as a manic defence against the affects that they cannot bear to experience directly. Conceived within the perspectives of Jungian psychoanalysis, manic creativity is shown to effect a defence against the subjective distress of personal complexes by means of an identification with the archetypal cores of the complexes. This defensive use of creativity, however, may ultimately play a decisive role in healing. Indeed, when considered from a prospective or teleological point of view, manic creativity, for all its insensitivity to the suffering that has inspired it, can also be understood as gradually creating a container in which affects formerly defended against may be received and suffered, felt and grieved. It is in this way that manic creativity, though clearly a defence (and at times a very costly one), participates in the reparative initiative of the self.     

《易经》:人类科学思维和审美思维方式的精典阐释

一本诞生于五千年前的中国古书《易经》,已经包含着深刻的现代科学数理逻辑原理,且与美学的审美逻辑原理互为支持、互为表里,使这两大类本来被认为水火不相容的领域及其独具的思维方式得到了高度完善统一的阐释。从这样的角度来看《易经》,也许会有助于目前心理学界对思维方式及逻辑问题的研究,拓开一条崭新的思路。     

The Epic of Evolution as a Framework for Human Orientation in Life

This article sketches what is required of a world picture (religious or nonreligious) that is intended to provide orientation in the world for ongoing human life today. How do we move from conceptions and theories prominent in the modern sciences—such as cosmic and biological evolution—to an overall picture or cosmology which can orient us for the effective address of today's deepest human problems? A biohistoricalconception of the human is proposed in answer to this question.     

Storytellers and Scenario Spinners: Some Reflections on Religion and Science in Light of a Pragmatic, Evolutionary Theory of Knowledge

Asserting that both scientists and religious thinkers are involved in telling stories about the past and spinning scenarios about the future, I first compare and contrast the purposes of scientific and religious storytelling. Then, in light of some recent work on brain and language evolution, I offer a possible story about how humans might have become storytellers. Finally, I discuss how religious stories might be evaluated pragmatically and even scientifically by developing Lakatosian-type research programs.     

Training generalized improvisation of tools by preschool children

The development of new, "creative" behaviors was examined in a problem-solving context. One form of problem solving, improvisation, was defined as finding a substitute to replace the specifically designated, but currently unavailable, tool ordinarily used to solve the problem. The study examined whether preschool children spontaneously displayed generalized improvisation skills, and if not, whether they could be trained to do so within different classes of tools. Generalization across different tool classes was monitored but not specifically trained. Five preschool children participated in individual sessions that first probed their skill at improvising tools, and later trained and probed generalized improvisation in one or more of three tool classes (Hammers, Containers, and Shoelaces), using a multiple-baseline design. All five children were trained with Hammers, two were trained in two classes, and two were trained in all three tool classes. Four of the five children improvised little in Baseline. During Training, all five showed increased generalized improvisation within the trained class, but none across classes. Tools fabricated by item combinations were rare in Baseline, but common in Training. Followup probes showed that the training effects were durable.     

创造力内隐理论研究：源起与现状

创造力内隐理论是指一般公众（专家和外行人）在日常生活和工作背景下所形成的,且以某种形式存在于个体头脑中的关于创造力概念、结构极其发展的看法。创造力内隐理论研究是近20年来人们极为关注的新趋势之一。该文从创造力内隐理论的提出和新进展两个方面,对近20年该领域的有关文献进行了综述;简要评价了研究的现状,并对创造力内隐理论研究的发展趋势进行了展望     

动物创造力和创新研究概述

充满不确定性的环境里,创造力对于人类和动物的生存和进化都起着十分重要的作用。长期以来动物的创造力和创新能力的研究没有受到重视,但最近这个领域开始受到越来越多的关注。该文对动物创造力的有关研究做了简要介绍,并对该领域的发展做了一些探讨     

Creative Writing as Resistance and Discovery in an Analysis

This paper was originally written as a graduation paper for the completion of adult analytic training. In this paper I trace and explore multiple uses of creative writing in my personal analysis, illuminating the development of analytic phases and process. The creative writing used in this paper is primarily from the first three and a half years of my analysis, well before entering analytic training. It is an eventual interpretation on the part of my analyst, as well as the rest of my analysis and analytic training, that allow me to realize that while my writing felt like self-discovery, it also served as resistance, defense against the entirety of my affective world and internal conflicts. A poem written much later in the analysis is included, as it reveals the integration of struggled with concepts, as well as the pain of the inevitable separation of termination.