Bo T. Christensen and Christian D. Schunn
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195381634
- eISBN:
- 9780199870264
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195381634.003.0003
- Subject:
- Psychology, Cognitive Psychology
Random cues may be both beneficial and harmful to creativity. Theories of analogical transfer and association assume that cues are helpful in generating new ideas. However, theories of ...
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Random cues may be both beneficial and harmful to creativity. Theories of analogical transfer and association assume that cues are helpful in generating new ideas. However, theories of path-of-least-resistance, fixation, and unconscious plagiarism say that cues can lead you into traps. Empirical research partly supports both theories. So what is a practitioner to do in selecting random cues for enhancing creativity? It is suggested that the answer is found in looking at the relationship between cues and the creative cognitive processes and their functions, and how this leads to creative outcome originality and usefulness. Two processes are examined: analogical transfer and mental simulation. It is recommended that random between-domain cues be used to increase between domain analogizing primarily with instruction to make connections, leading to product originality. Random within-domain cues should be used to increase within-domain analogizing. Due to property transfer, close analogies may have a negative impact on the originality of the outcome in problem-solving instances, but a positive impact on usefulness in problem-identifying and problem-solving instances. Random end-user cues will lead to greater amounts of end-user simulations of usability and user preferences, and thus to higher levels of product usefulness.Less
Random cues may be both beneficial and harmful to creativity. Theories of analogical transfer and association assume that cues are helpful in generating new ideas. However, theories of path-of-least-resistance, fixation, and unconscious plagiarism say that cues can lead you into traps. Empirical research partly supports both theories. So what is a practitioner to do in selecting random cues for enhancing creativity? It is suggested that the answer is found in looking at the relationship between cues and the creative cognitive processes and their functions, and how this leads to creative outcome originality and usefulness. Two processes are examined: analogical transfer and mental simulation. It is recommended that random between-domain cues be used to increase between domain analogizing primarily with instruction to make connections, leading to product originality. Random within-domain cues should be used to increase within-domain analogizing. Due to property transfer, close analogies may have a negative impact on the originality of the outcome in problem-solving instances, but a positive impact on usefulness in problem-identifying and problem-solving instances. Random end-user cues will lead to greater amounts of end-user simulations of usability and user preferences, and thus to higher levels of product usefulness.
Emery Schubert
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0008
- Subject:
- Psychology, Music Psychology, Social Psychology
From its evolutionary origins, our culture has organized and shaped the role of creativity in music. For example, many people in Western culture will agree that Beethoven was a creative genius, and ...
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From its evolutionary origins, our culture has organized and shaped the role of creativity in music. For example, many people in Western culture will agree that Beethoven was a creative genius, and that his third symphony was a creative work, if not a hallmark of creativity in that era. Cultural momentum has perpetuated and reinforced, and at various times re-invigorated, these kinds of beliefs about creativity. The same is true of the child composing a piece in primary school, or a soloist improvising; our culture has established some more or less unwritten rules about which versions of these products (the composition and improvisation) are creative, or creative to some degree. The evolutionary pressure to be creative was associated with some concomitant use or development of brain function associated with creativity. This chapter explores a cognitive model that can be used to explain the mental functions of creative processing, and particularly for music. It draws on principles of spreading activation in associative networks.Less
From its evolutionary origins, our culture has organized and shaped the role of creativity in music. For example, many people in Western culture will agree that Beethoven was a creative genius, and that his third symphony was a creative work, if not a hallmark of creativity in that era. Cultural momentum has perpetuated and reinforced, and at various times re-invigorated, these kinds of beliefs about creativity. The same is true of the child composing a piece in primary school, or a soloist improvising; our culture has established some more or less unwritten rules about which versions of these products (the composition and improvisation) are creative, or creative to some degree. The evolutionary pressure to be creative was associated with some concomitant use or development of brain function associated with creativity. This chapter explores a cognitive model that can be used to explain the mental functions of creative processing, and particularly for music. It draws on principles of spreading activation in associative networks.
Shira Lee Katz and Howard Gardner
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0007
- Subject:
- Psychology, Music Psychology, Social Psychology
Most studies of musical composition are accounts of individual composers or analyses of scores divorced from the writing process. We lack information on the prototypical ways that pieces take shape ...
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Most studies of musical composition are accounts of individual composers or analyses of scores divorced from the writing process. We lack information on the prototypical ways that pieces take shape and the core ideas and impulses that catalyse the process. This chapter draws on in-depth interviews with twenty-four ‘creative’ New Music composers to examine the ways that these composers write; findings are then related to broader theories of the creative process. The creative process in this group of composers can be characterized in part by a single Stage Theory (i.e., distinct stages through which all of these creators pass). But extending beyond traditional stage theories, two basic prototypical compositional strategies are also identified: Within-Domain and Beyond-Domain. Within-Domain processes are inspired predominantly by musical materials themselves. Beyond-Domain processes are influenced mostly by conceptual frameworks such as metaphors and associations from outside of the discipline of music. A small subset of processes called Hybrids more evenly reflect both Within-Domain and Beyond-Domain processes.Less
Most studies of musical composition are accounts of individual composers or analyses of scores divorced from the writing process. We lack information on the prototypical ways that pieces take shape and the core ideas and impulses that catalyse the process. This chapter draws on in-depth interviews with twenty-four ‘creative’ New Music composers to examine the ways that these composers write; findings are then related to broader theories of the creative process. The creative process in this group of composers can be characterized in part by a single Stage Theory (i.e., distinct stages through which all of these creators pass). But extending beyond traditional stage theories, two basic prototypical compositional strategies are also identified: Within-Domain and Beyond-Domain. Within-Domain processes are inspired predominantly by musical materials themselves. Beyond-Domain processes are influenced mostly by conceptual frameworks such as metaphors and associations from outside of the discipline of music. A small subset of processes called Hybrids more evenly reflect both Within-Domain and Beyond-Domain processes.
Vladimir J. Koneˇcni
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0009
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter presents reflections about an important and much discussed aspect of art-music composers' creative process, namely, the role — if any — that emotions, and specifically acute emotional ...
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This chapter presents reflections about an important and much discussed aspect of art-music composers' creative process, namely, the role — if any — that emotions, and specifically acute emotional states induced by life-events, play in that process. In contrast to the emotivist attitude, it argues for the paramount importance of contemplation, analytical and technical skills, problem-solving, and planning — in short, reason — as the key features of art-music composers' daily work, especially when developing large-scale pieces. It is also proposed that when emotions are experienced by composers in response to others' and their own music of very high quality, these are likely to be the states of being moved and aesthetic awe — which are very rare and have different phenomenological characteristics and evolutionary origin than the emotions with which psychologists and biologists are usually concerned.Less
This chapter presents reflections about an important and much discussed aspect of art-music composers' creative process, namely, the role — if any — that emotions, and specifically acute emotional states induced by life-events, play in that process. In contrast to the emotivist attitude, it argues for the paramount importance of contemplation, analytical and technical skills, problem-solving, and planning — in short, reason — as the key features of art-music composers' daily work, especially when developing large-scale pieces. It is also proposed that when emotions are experienced by composers in response to others' and their own music of very high quality, these are likely to be the states of being moved and aesthetic awe — which are very rare and have different phenomenological characteristics and evolutionary origin than the emotions with which psychologists and biologists are usually concerned.
Andrew Kahn
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199234745
- eISBN:
- 9780191715747
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199234745.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
Alexander Pushkin (1799-1837) is Russia's greatest poet, a ‘ founding father’ of modern Russian literature, and a major figure in world literature. His poetry and prose changed the course of Russian ...
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Alexander Pushkin (1799-1837) is Russia's greatest poet, a ‘ founding father’ of modern Russian literature, and a major figure in world literature. His poetry and prose changed the course of Russian culture, and his works inspired operas by Musorgsky and Tchaikovsky (as well as Peter Shaffer's Amadeus). This book's title refers to Pushkin's capacity to transform philosophical and aesthetic ideas into poetry. Arguing that Pushkin's poetry has often been misunderstood as transparently simple, this book traces the interrelation between his writing and the influences of English and European literature and cultural movements on his understanding of the creative process and the aims of art. The book approaches Pushkin's poetic texts through the history of ideas, and argues that in his poetry the clashes that matter are not about stylistic innovation and genre, as has often been suggested. Instead, the poems are shown to articulate a range of positions on key topics of the period, including the meaning of originality, the imagination, the status of the poet, the role of commercial success, the definition of genius, representation of nature, the definition of the hero, and the immortality of the soul. The book addresses how theories of inspiration informed Pushkin's thinking about classicism and Romanticism in the 1820s and 1830s. It looks at the intersection of Pushkin's knowledge of important ideas and artistic trends with poems about the creative imagination, psychology, sex and the body, heroism and the ethical life, and death.Less
Alexander Pushkin (1799-1837) is Russia's greatest poet, a ‘ founding father’ of modern Russian literature, and a major figure in world literature. His poetry and prose changed the course of Russian culture, and his works inspired operas by Musorgsky and Tchaikovsky (as well as Peter Shaffer's Amadeus). This book's title refers to Pushkin's capacity to transform philosophical and aesthetic ideas into poetry. Arguing that Pushkin's poetry has often been misunderstood as transparently simple, this book traces the interrelation between his writing and the influences of English and European literature and cultural movements on his understanding of the creative process and the aims of art. The book approaches Pushkin's poetic texts through the history of ideas, and argues that in his poetry the clashes that matter are not about stylistic innovation and genre, as has often been suggested. Instead, the poems are shown to articulate a range of positions on key topics of the period, including the meaning of originality, the imagination, the status of the poet, the role of commercial success, the definition of genius, representation of nature, the definition of the hero, and the immortality of the soul. The book addresses how theories of inspiration informed Pushkin's thinking about classicism and Romanticism in the 1820s and 1830s. It looks at the intersection of Pushkin's knowledge of important ideas and artistic trends with poems about the creative imagination, psychology, sex and the body, heroism and the ethical life, and death.
William Kinderman
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195100679
- eISBN:
- 9780199868315
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195100679.003.0006
- Subject:
- Music, History, Western
This chapter challenges the popular image of Mozart's music as having sprung into existence fully formed by analyzing his manuscripts and creative process. In the case of the first movement of the ...
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This chapter challenges the popular image of Mozart's music as having sprung into existence fully formed by analyzing his manuscripts and creative process. In the case of the first movement of the “Dürnitz” Sonata, K. 284, Mozart completely rewrote the first movement; his draft for the opening movement of the Concerto in C Major, K. 503 was set aside for an extended time, and the opening solo passage was then extensively rewritten. Both examples support Georg Nissen's claim from 1828 that “one doesn't believe the gossip at all, according to which he [Mozart] tossed off his significant works swiftly and hurriedly”.Less
This chapter challenges the popular image of Mozart's music as having sprung into existence fully formed by analyzing his manuscripts and creative process. In the case of the first movement of the “Dürnitz” Sonata, K. 284, Mozart completely rewrote the first movement; his draft for the opening movement of the Concerto in C Major, K. 503 was set aside for an extended time, and the opening solo passage was then extensively rewritten. Both examples support Georg Nissen's claim from 1828 that “one doesn't believe the gossip at all, according to which he [Mozart] tossed off his significant works swiftly and hurriedly”.
Colwyn Trevarthen
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0017
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter seeks the source of the self-creative process that makes music by asking: how can a newborn baby, possessed of powerful means of soliciting the care of its life from a mother, also have ...
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This chapter seeks the source of the self-creative process that makes music by asking: how can a newborn baby, possessed of powerful means of soliciting the care of its life from a mother, also have the power to create or recognize music-like behaviour, and to share it? It has been discovered recently that infants have a discriminating interest in both song and the sounds of musical instruments, and that they make an expressive response to assist in vocal improvisations with their parents. These abilities call for an enquiry into the evolutionary preconditions for musical creativity, in animal movement and vocal communication. Where do the essential parameters of music — its rhythms and its emotive, story-making melodies — come from? It is argued that there is a natural creative process in the human mind, active from birth or before, for the receiving of music. It grows with the innocent pleasure of self-expression in play or reverie, to skill in ritual performance and the sophisticated appreciation of contrived forms of art.Less
This chapter seeks the source of the self-creative process that makes music by asking: how can a newborn baby, possessed of powerful means of soliciting the care of its life from a mother, also have the power to create or recognize music-like behaviour, and to share it? It has been discovered recently that infants have a discriminating interest in both song and the sounds of musical instruments, and that they make an expressive response to assist in vocal improvisations with their parents. These abilities call for an enquiry into the evolutionary preconditions for musical creativity, in animal movement and vocal communication. Where do the essential parameters of music — its rhythms and its emotive, story-making melodies — come from? It is argued that there is a natural creative process in the human mind, active from birth or before, for the receiving of music. It grows with the innocent pleasure of self-expression in play or reverie, to skill in ritual performance and the sophisticated appreciation of contrived forms of art.
Elliott Antokoletz
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195365825
- eISBN:
- 9780199868865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365825.003.0014
- Subject:
- Music, Opera
The new musical language that emerged in the early 20th century seems to have been motivated, at least in part, by the need to reflect — even express — the new literary, psychological, and ...
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The new musical language that emerged in the early 20th century seems to have been motivated, at least in part, by the need to reflect — even express — the new literary, psychological, and philosophical principles that surfaced in the new art-form of these symbolist operas. The transformation of the more linear, defined quality of the traditional major/minor scales into the more diffuse, static effects created by the use of modality, polymodality, and symmetrical pitch-set interactions resonated with the modernistic conception of the human being, who is perennially divided and threatened by the split between the conscious and the unconscious mind. The symbolic connotation of symmetrical pitch relations has similarities with Matte Blanco's concept of “the unconscious as infinite sets”. Also discussed is the creative process and social context, in which the text narratives are impacted by the ideological trends of the time, not only in what they say, but also in what they omit. Both operas have meanings that must be decoded. Analysis of these works stems from the point of view of dynamic psychology. The chapter touches on various psychological and social (gender) issues as addressed by György Lukacs and Béla Balázs.Less
The new musical language that emerged in the early 20th century seems to have been motivated, at least in part, by the need to reflect — even express — the new literary, psychological, and philosophical principles that surfaced in the new art-form of these symbolist operas. The transformation of the more linear, defined quality of the traditional major/minor scales into the more diffuse, static effects created by the use of modality, polymodality, and symmetrical pitch-set interactions resonated with the modernistic conception of the human being, who is perennially divided and threatened by the split between the conscious and the unconscious mind. The symbolic connotation of symmetrical pitch relations has similarities with Matte Blanco's concept of “the unconscious as infinite sets”. Also discussed is the creative process and social context, in which the text narratives are impacted by the ideological trends of the time, not only in what they say, but also in what they omit. Both operas have meanings that must be decoded. Analysis of these works stems from the point of view of dynamic psychology. The chapter touches on various psychological and social (gender) issues as addressed by György Lukacs and Béla Balázs.
William Kinderman
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195100679
- eISBN:
- 9780199868315
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195100679.001.0001
- Subject:
- Music, History, Western
Mozart's emergence as a mature artist coincides with the rise to prominence of the piano, an instrument that came alive under his fingers and served as medium for many of his finest compositions. ...
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Mozart's emergence as a mature artist coincides with the rise to prominence of the piano, an instrument that came alive under his fingers and served as medium for many of his finest compositions. This book reconsiders common assumptions about Mozart's life and art while offering commentary on the solo music and concertos. After placing Mozart's pianistic legacy in its larger biographical and cultural context, the book addresses the lively gestural and structural aspects of Mozart's musical language and explores the nature of his creative process. Incorporating recent research the book surveys each of the major genres of the keyboard music, including the four-hand and two-piano works. Beyond examining issues such as Mozart's earliest childhood compositions, his musical rhetoric and expression, the social context of his Viennese concertos, and affinities between his piano works and operas, the book's main emphasis falls on detailed discussion of selected individual compositions. It challenges the common conception of Mozart's effortless compositional abilities, and provides illuminating examples of his painstaking revision process. As the book shows, Mozart created in the last fifteen years of his life an almost incomparably rich legacy of works for keyboard, beginning with the six solo sonatas of 1775 and extending to such pieces as the final Concerto in B flat, K. 595, from 1791.Less
Mozart's emergence as a mature artist coincides with the rise to prominence of the piano, an instrument that came alive under his fingers and served as medium for many of his finest compositions. This book reconsiders common assumptions about Mozart's life and art while offering commentary on the solo music and concertos. After placing Mozart's pianistic legacy in its larger biographical and cultural context, the book addresses the lively gestural and structural aspects of Mozart's musical language and explores the nature of his creative process. Incorporating recent research the book surveys each of the major genres of the keyboard music, including the four-hand and two-piano works. Beyond examining issues such as Mozart's earliest childhood compositions, his musical rhetoric and expression, the social context of his Viennese concertos, and affinities between his piano works and operas, the book's main emphasis falls on detailed discussion of selected individual compositions. It challenges the common conception of Mozart's effortless compositional abilities, and provides illuminating examples of his painstaking revision process. As the book shows, Mozart created in the last fifteen years of his life an almost incomparably rich legacy of works for keyboard, beginning with the six solo sonatas of 1775 and extending to such pieces as the final Concerto in B flat, K. 595, from 1791.
Ken Gilhooly
- Published in print:
- 2007
- Published Online:
- March 2012
- ISBN:
- 9780198568773
- eISBN:
- 9780191693779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198568773.003.0013
- Subject:
- Psychology, Cognitive Psychology
This chapter proposes that creativity emerges out of a three-way process between an individual, his or her domain of work and the audience of knowledgeable peers and judges. However, this chapter ...
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This chapter proposes that creativity emerges out of a three-way process between an individual, his or her domain of work and the audience of knowledgeable peers and judges. However, this chapter focuses on within-individual cognitive processes which are essential in any creative work. The rest of this chapter discusses some of the main approaches and findings that have arisen in the study of creative processes. Overall, the results and theories outlined here indicate that, contrary to the myth of mystery, creative thinking can be empirically investigated and would appear to be explicable in terms of normal cognitive processes suitably marshalled, often in real life cases, over long periods.Less
This chapter proposes that creativity emerges out of a three-way process between an individual, his or her domain of work and the audience of knowledgeable peers and judges. However, this chapter focuses on within-individual cognitive processes which are essential in any creative work. The rest of this chapter discusses some of the main approaches and findings that have arisen in the study of creative processes. Overall, the results and theories outlined here indicate that, contrary to the myth of mystery, creative thinking can be empirically investigated and would appear to be explicable in terms of normal cognitive processes suitably marshalled, often in real life cases, over long periods.
Paul B. Paulus and Bernard A. Nijstad (eds)
- Published in print:
- 2003
- Published Online:
- April 2010
- ISBN:
- 9780195147308
- eISBN:
- 9780199893720
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195147308.001.0001
- Subject:
- Psychology, Social Psychology, Cognitive Psychology
Creativity often leads to the development of original ideas that are useful or influential, and maintaining creativity is crucial for the continued development of organizations in particular, and ...
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Creativity often leads to the development of original ideas that are useful or influential, and maintaining creativity is crucial for the continued development of organizations in particular, and society in general. Most research and writing has focused on individual creativity, yet in recent years, there has been an increasing acknowledgment of the importance of the social and contextual factors in creativity. Even with the information explosion and the growing necessity for specialization, the development of innovations still requires group interaction at various stages in the creative process. Most organizations increasingly rely on the work of creative teams where each individual is an expert in a particular area. This book summarizes the exciting new research developments on the processes involved in group creativity and innovation, and explores the relationship between group processes, group context and creativity. It draws from a broad range of research perspectives, including those investigating cognition, groups, creativity, information systems and organizational psychology. The first section in this book focuses on how group decision making is affected by factors such as cognitive fixation and flexibility, group diversity, minority dissent, group decision-making, brainstorming and group support systems. Special attention is devoted to the various processes and conditions which can inhibit or facilitate group creativity. The second section explores how various contextual and environmental factors affect the creative processes of groups. The chapters explore issues of group autonomy, group socialization, mentoring, team innovation, knowledge transfer and creativity, at the level of cultures, and societies.Less
Creativity often leads to the development of original ideas that are useful or influential, and maintaining creativity is crucial for the continued development of organizations in particular, and society in general. Most research and writing has focused on individual creativity, yet in recent years, there has been an increasing acknowledgment of the importance of the social and contextual factors in creativity. Even with the information explosion and the growing necessity for specialization, the development of innovations still requires group interaction at various stages in the creative process. Most organizations increasingly rely on the work of creative teams where each individual is an expert in a particular area. This book summarizes the exciting new research developments on the processes involved in group creativity and innovation, and explores the relationship between group processes, group context and creativity. It draws from a broad range of research perspectives, including those investigating cognition, groups, creativity, information systems and organizational psychology. The first section in this book focuses on how group decision making is affected by factors such as cognitive fixation and flexibility, group diversity, minority dissent, group decision-making, brainstorming and group support systems. Special attention is devoted to the various processes and conditions which can inhibit or facilitate group creativity. The second section explores how various contextual and environmental factors affect the creative processes of groups. The chapters explore issues of group autonomy, group socialization, mentoring, team innovation, knowledge transfer and creativity, at the level of cultures, and societies.
Gregory D. Booth
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195327632
- eISBN:
- 9780199852055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327632.003.0006
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians ...
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This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians in the film-music industry in Mumbai, India. It explores the workshops, professional roles and the organization of the processes involved in the local musicians' composition of about nineteen songs a week during the last years of the British rule through the early years of the 21st century. It suggests that sitting musicians were the main source of the songs for the Hindi cinema.Less
This chapter examines the musical, economic, and social relationships of the creative process that took place in the world of music rooms, music directors, arrangers, assistants and sitting musicians in the film-music industry in Mumbai, India. It explores the workshops, professional roles and the organization of the processes involved in the local musicians' composition of about nineteen songs a week during the last years of the British rule through the early years of the 21st century. It suggests that sitting musicians were the main source of the songs for the Hindi cinema.
Steven M. Smith
- Published in print:
- 2003
- Published Online:
- April 2010
- ISBN:
- 9780195147308
- eISBN:
- 9780199893720
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195147308.003.0002
- Subject:
- Psychology, Social Psychology, Cognitive Psychology
This chapter focuses on the rare form of creative cognition, that which leads to revolutionary ideas. The case is made, with supporting empirical evidence, that prior experience can sometimes block ...
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This chapter focuses on the rare form of creative cognition, that which leads to revolutionary ideas. The case is made, with supporting empirical evidence, that prior experience can sometimes block or impede cognitive operations in memory, problem solving and creative thinking, and that similar cognitive processes are involved in all three domains. Such constraints can have profound effects on the creative ideas generated not only in individuals but in groups of people as well.Less
This chapter focuses on the rare form of creative cognition, that which leads to revolutionary ideas. The case is made, with supporting empirical evidence, that prior experience can sometimes block or impede cognitive operations in memory, problem solving and creative thinking, and that similar cognitive processes are involved in all three domains. Such constraints can have profound effects on the creative ideas generated not only in individuals but in groups of people as well.
Vera John-Steiner
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780195307702
- eISBN:
- 9780199847587
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307702.001.0001
- Subject:
- Psychology, Social Psychology
This book offers rare and fascinating glimpses into the dynamic alliances from which some of our most important scholarly ideas, scientific theories, and art forms are born. It shows the creative ...
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This book offers rare and fascinating glimpses into the dynamic alliances from which some of our most important scholarly ideas, scientific theories, and art forms are born. It shows the creative process unfolding in the intimate relationships of Jean-Paul Sartre and Simone de Beauvoir, Henry Miller and Anais Nin, Marie and Pierre Curie, Martha Graham and Erick Hawkins, and Georgia O'Keeffe and Alfred Stieglitz; the productive partnerships of Pablo Picasso and Georges Braque, Albert Einstein and Marcel Grossmann, Aaron Copland and Leonard Bernstein, and Freeman Dyson and Richard Feynman; the familial collaborations of Thomas and Heinrich Mann, Hubert and Stuart Dreyfus, and Margaret Mead, Gregory Bateson and Mary Catherine Bateson; and the larger ensembles of The Guarneri String Quartet, Lee Strasburg, Harold Clurman and The Group Theater, and such feminist groups as The Stone Center and the authors of Women's Ways of Knowing. Many of these collaborators complemented each other, meshing different backgrounds and forms into fresh styles, while others completely transformed their fields. This book offers a unique cultural and historical perspective on the creative process and a compelling depiction of the associations that nurtured our most talented artists and thinkers. By delving into these complex collaborations, the book illustrates that the mind—rather than thriving on solitude—is clearly dependent upon the reflection, renewal, and trust inherent in sustained human relationships.Less
This book offers rare and fascinating glimpses into the dynamic alliances from which some of our most important scholarly ideas, scientific theories, and art forms are born. It shows the creative process unfolding in the intimate relationships of Jean-Paul Sartre and Simone de Beauvoir, Henry Miller and Anais Nin, Marie and Pierre Curie, Martha Graham and Erick Hawkins, and Georgia O'Keeffe and Alfred Stieglitz; the productive partnerships of Pablo Picasso and Georges Braque, Albert Einstein and Marcel Grossmann, Aaron Copland and Leonard Bernstein, and Freeman Dyson and Richard Feynman; the familial collaborations of Thomas and Heinrich Mann, Hubert and Stuart Dreyfus, and Margaret Mead, Gregory Bateson and Mary Catherine Bateson; and the larger ensembles of The Guarneri String Quartet, Lee Strasburg, Harold Clurman and The Group Theater, and such feminist groups as The Stone Center and the authors of Women's Ways of Knowing. Many of these collaborators complemented each other, meshing different backgrounds and forms into fresh styles, while others completely transformed their fields. This book offers a unique cultural and historical perspective on the creative process and a compelling depiction of the associations that nurtured our most talented artists and thinkers. By delving into these complex collaborations, the book illustrates that the mind—rather than thriving on solitude—is clearly dependent upon the reflection, renewal, and trust inherent in sustained human relationships.
Tony James
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198151883
- eISBN:
- 9780191672873
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151883.003.0016
- Subject:
- Literature, 19th-century and Victorian Literature, European Literature
From Delbœuf to Hugo, this chapter describes a mental process whereby the self is ‘doubled’ and other characters, who may or may not be recognized as parts of the self, are brought into being. This ...
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From Delbœuf to Hugo, this chapter describes a mental process whereby the self is ‘doubled’ and other characters, who may or may not be recognized as parts of the self, are brought into being. This process occurs demonstrably in dreams states Delbœuf and Maury, its analogue is perceived by Maury and Baillarger as occurring in some forms of insanity, and some writers in the creation of their characters appear not only to ‘double’ themselves, perhaps many times, but also, on occasion, to identify with their ‘doubles’.Less
From Delbœuf to Hugo, this chapter describes a mental process whereby the self is ‘doubled’ and other characters, who may or may not be recognized as parts of the self, are brought into being. This process occurs demonstrably in dreams states Delbœuf and Maury, its analogue is perceived by Maury and Baillarger as occurring in some forms of insanity, and some writers in the creation of their characters appear not only to ‘double’ themselves, perhaps many times, but also, on occasion, to identify with their ‘doubles’.
Albert Rothenberg
- Published in print:
- 2014
- Published Online:
- November 2014
- ISBN:
- 9780199988792
- eISBN:
- 9780190214159
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199988792.003.0017
- Subject:
- Psychology, Cognitive Psychology
The findings from the research interviews with the Nobel Prize–winning scientists and the control group of engineering faculty and their significance are discussed. Interrelationships between ...
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The findings from the research interviews with the Nobel Prize–winning scientists and the control group of engineering faculty and their significance are discussed. Interrelationships between emotional and cognitive factors in the scientific creative process are outlined. The overall course of the creative process is spelled out and the creative outcomes considered. The formulation of the cognitive creative processes starting at adolescence is described; the janusian process developing from oppositional tendencies, the homospatial process from heightened body and spatial awareness, and the sep-con articulation process arising from separation and connection in developing individuation. The cognitive creative processes are necessary and sufficient factors for creation. Suggestions are given for the use of the cognitive creative processes, or aspects of these processes, in everyday types of creativity, the production of newness and value, and the flight from wonder.Less
The findings from the research interviews with the Nobel Prize–winning scientists and the control group of engineering faculty and their significance are discussed. Interrelationships between emotional and cognitive factors in the scientific creative process are outlined. The overall course of the creative process is spelled out and the creative outcomes considered. The formulation of the cognitive creative processes starting at adolescence is described; the janusian process developing from oppositional tendencies, the homospatial process from heightened body and spatial awareness, and the sep-con articulation process arising from separation and connection in developing individuation. The cognitive creative processes are necessary and sufficient factors for creation. Suggestions are given for the use of the cognitive creative processes, or aspects of these processes, in everyday types of creativity, the production of newness and value, and the flight from wonder.
William Kinderman
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252037160
- eISBN:
- 9780252094286
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037160.001.0001
- Subject:
- Music, History, Western
This book opens the door to the composer's workshop, investigating not just the final outcome but the process of creative endeavor in music. Focusing on the stages of composition, the book maintains ...
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This book opens the door to the composer's workshop, investigating not just the final outcome but the process of creative endeavor in music. Focusing on the stages of composition, the book maintains that the most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches, drafts, revised manuscripts, and corrected proof sheets. It explores works of major composers from the eighteenth century to the present, from Mozart's piano music and Beethoven's Piano Trio in F to Kurtág's Kafka Fragments and Hommage à R. Sch. Other chapters examine Robert Schumann's Fantasie in C, Mahler's Fifth Symphony, and Bartók's Dance Suite. Revealing the diversity of sources, rejected passages and movements, fragmentary unfinished works, and aborted projects that were absorbed into finished compositions, the book illustrates the wealth of insight that can be gained through studying the creative process.Less
This book opens the door to the composer's workshop, investigating not just the final outcome but the process of creative endeavor in music. Focusing on the stages of composition, the book maintains that the most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches, drafts, revised manuscripts, and corrected proof sheets. It explores works of major composers from the eighteenth century to the present, from Mozart's piano music and Beethoven's Piano Trio in F to Kurtág's Kafka Fragments and Hommage à R. Sch. Other chapters examine Robert Schumann's Fantasie in C, Mahler's Fifth Symphony, and Bartók's Dance Suite. Revealing the diversity of sources, rejected passages and movements, fragmentary unfinished works, and aborted projects that were absorbed into finished compositions, the book illustrates the wealth of insight that can be gained through studying the creative process.
Audrey Murfin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474451987
- eISBN:
- 9781474477109
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451987.001.0001
- Subject:
- Literature, Criticism/Theory
Robert Louis Stevenson, Collaboration, and the Construction of the Late-Victorian Author argues that understanding literary collaboration is essential to understanding Stevenson’s writings. Stevenson ...
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Robert Louis Stevenson, Collaboration, and the Construction of the Late-Victorian Author argues that understanding literary collaboration is essential to understanding Stevenson’s writings. Stevenson often collaborated with family and friends, sometimes acknowledged, and sometimes not. Early collaborations include three plays with his friend W. E. Henley. Later, he and his wife Fanny co-authored a volume of linked stories, More New Arabian Nights, also titled The Dynamiter (1885). Fanny also contributed to other work that did not bear her name, significantly the Strange Case of Dr Jekyll and Mr Hyde (1886), and he drew on her diaries for his Pacific writings. He collaborated most extensively with his stepson, Lloyd Osbourne, with whom he wrote three novels: The Wrong Box (1889), The Wrecker (1892), and The Ebb-Tide (1894). Stevenson’s collaborations with Osbourne typify the critical problem my project addresses. Like Fanny Stevenson’s, Osbourne’s literary reputation has not been notable. Furthermore, there is evidence that Stevenson’s collaborations with Osbourne became frustrating. The core question this book addresses is this: why would this famous and successful author of Scottish literature practice a creative process that burdened him with inexpert collaborators? The answer to this question can be found in Stevenson’s novels, essays and plays, which dramatize the process of collaboration. Stevenson creates an alternate narrative of what it means to write—one that challenges commonly held assumptions about the celebrity cult of the author in Victorian literature, and notions of authorship more generally.Less
Robert Louis Stevenson, Collaboration, and the Construction of the Late-Victorian Author argues that understanding literary collaboration is essential to understanding Stevenson’s writings. Stevenson often collaborated with family and friends, sometimes acknowledged, and sometimes not. Early collaborations include three plays with his friend W. E. Henley. Later, he and his wife Fanny co-authored a volume of linked stories, More New Arabian Nights, also titled The Dynamiter (1885). Fanny also contributed to other work that did not bear her name, significantly the Strange Case of Dr Jekyll and Mr Hyde (1886), and he drew on her diaries for his Pacific writings. He collaborated most extensively with his stepson, Lloyd Osbourne, with whom he wrote three novels: The Wrong Box (1889), The Wrecker (1892), and The Ebb-Tide (1894). Stevenson’s collaborations with Osbourne typify the critical problem my project addresses. Like Fanny Stevenson’s, Osbourne’s literary reputation has not been notable. Furthermore, there is evidence that Stevenson’s collaborations with Osbourne became frustrating. The core question this book addresses is this: why would this famous and successful author of Scottish literature practice a creative process that burdened him with inexpert collaborators? The answer to this question can be found in Stevenson’s novels, essays and plays, which dramatize the process of collaboration. Stevenson creates an alternate narrative of what it means to write—one that challenges commonly held assumptions about the celebrity cult of the author in Victorian literature, and notions of authorship more generally.
Karen Wise, Mirjam James, and John Rink
- Published in print:
- 2017
- Published Online:
- December 2017
- ISBN:
- 9780199346677
- eISBN:
- 9780199346707
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199346677.003.0011
- Subject:
- Music, Psychology of Music
This chapter begins by investigating perspectives on practice and creativity in the scholarly literature and in both practical and pedagogical writing, and it argues that to date little attention has ...
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This chapter begins by investigating perspectives on practice and creativity in the scholarly literature and in both practical and pedagogical writing, and it argues that to date little attention has been paid to creativity in relation to individual practice. To redress this, the chapter then explores the creative processes that underlie the practising of classical musicians, focusing on the findings of a research project that allowed participants to identify aspects that they considered important to the creative development of their performances. Creative processes to do with moment-by-moment practice strategies are discussed, along with those resulting in the creative development of interpretations and a sense of ownership in music-making. This discussion leads to a series of insights concerning musicians’ creative ways of working, how technical and expressive elements can be interrelated and integrated, the nonlinear nature of the creative processes in question, and what practice itself entails. The chapter ends by encouraging new ways of thinking about practice and by suggesting some approaches which both teachers and individual student musicians might find effective.Less
This chapter begins by investigating perspectives on practice and creativity in the scholarly literature and in both practical and pedagogical writing, and it argues that to date little attention has been paid to creativity in relation to individual practice. To redress this, the chapter then explores the creative processes that underlie the practising of classical musicians, focusing on the findings of a research project that allowed participants to identify aspects that they considered important to the creative development of their performances. Creative processes to do with moment-by-moment practice strategies are discussed, along with those resulting in the creative development of interpretations and a sense of ownership in music-making. This discussion leads to a series of insights concerning musicians’ creative ways of working, how technical and expressive elements can be interrelated and integrated, the nonlinear nature of the creative processes in question, and what practice itself entails. The chapter ends by encouraging new ways of thinking about practice and by suggesting some approaches which both teachers and individual student musicians might find effective.
Liane Gabora
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780190455675
- eISBN:
- 9780190883317
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190455675.003.0002
- Subject:
- Psychology, Social Psychology
This chapter explores how we can better understand culture by understanding the creative processes that fuel it, and better understand creativity by examining it from its cultural context. First, it ...
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This chapter explores how we can better understand culture by understanding the creative processes that fuel it, and better understand creativity by examining it from its cultural context. First, it summarizes attempts to develop a scientific framework for how culture evolves, and it explores what these frameworks imply for the role of creativity in cultural evolution. Next it examines how questions about the relationship between creativity and cultural evolution have been addressed using an agent-based model in which neural network-based agents collectively generate increasingly fit ideas by building on previous ideas and imitating neighbors’ ideas. Finally, it outlines studies of how creative outputs are influenced, in perhaps unexpected ways, by other ideas and individuals, and how individual creative styles “peek through” cultural outputs in different domains.Less
This chapter explores how we can better understand culture by understanding the creative processes that fuel it, and better understand creativity by examining it from its cultural context. First, it summarizes attempts to develop a scientific framework for how culture evolves, and it explores what these frameworks imply for the role of creativity in cultural evolution. Next it examines how questions about the relationship between creativity and cultural evolution have been addressed using an agent-based model in which neural network-based agents collectively generate increasingly fit ideas by building on previous ideas and imitating neighbors’ ideas. Finally, it outlines studies of how creative outputs are influenced, in perhaps unexpected ways, by other ideas and individuals, and how individual creative styles “peek through” cultural outputs in different domains.
