摘要:

AbstractThis paper reviews historical and contemporary highlights of the role of imagery in creativity. Plato linked imagery to memory, while Aristotle felt images provided substance for thought. Simonides and renaissance philosophers recognized imagery as a useful memory aid. Imagery was replaced by a focus on words in both the Protestant Reformation period and behavioristic psychology. Imagery appears in the theories of Freud, Jung, Piaget, Guilford, and Gardner; the prescriptions of educators Pestalozzi and Montessori; and contemporary cognitive psychology. Quotes from Beethoven, Einstein, and others confirm their imagery in all sensory modes and often cross‐modal imagery. Recent creativity models emphasize voluntary (executive) and involuntary control of imagery, including decoupling of perceptual mechanisms. Creativity techniques and imagery exercises seem to aid creative thinking.Our common‐sense and dictionary definitions ofcreativityinclude the concept ofimagination, the ability to form a mental image of something not present. Anecdotal reminiscences by Einstein, Beethoven, and other eminent innovators confirm the obvious — that mental imagery and creativity are related intimately. For example, creative writing has been conceived as creating images based on memories and/or current experiences and combining and synthesizing them in novel ways. The writing is described as a recursive process of moving back and forth between these representations and the prose itself (Flower&Hayes, 1984; Long&Hiebert, 1985).Despite the self‐evident general connection, a debate continues in education and psychology regarding the precise role that imagery plays in learning, thought, and creativity. For example, Forisha (1978, p. 209) noted that “we have tended to ignore the variability and complexity of imagery — as well as the varieties of creativity — and thus have only skirted the complexities and multiplicities of the interrelationships.” In this report we will review some historical highlights of the imagery‐creativity connection, including early and contemporary accounts, along with some notable examples of imagery in the creative process. We also will look at cross‐modal imagery (synesthesia); a model of image‐based creativity and the creative process; and some implications for strengthening creativity by

ISSN:0022-0175    

DOI:10.1002/j.2162-6057.1994.tb01189.x

出版商:Blackwell Publishing Ltd    

年代:1994

数据来源: WILEY

ISSN:0022-0175    

DOI:10.1002/j.2162-6057.1994.tb01190.x

出版商:Blackwell Publishing Ltd    

年代:1994

数据来源: WILEY

摘要:

AbstractThe focus of this article is on the similarities between the behavioral manifestations of ADHD and creativity, some speculations about their common etiology, some illustrative case studies, and practical implications of mistaking one for the other. The possibility of an overlap in the conditions of high creativity and Attention Deficit Hyperactivity Disorder (ADHD) is proposed. Evidence in both groups of mixed laterality and anomalies in cerebral dominance, more spontaneous ideation, higher levels of sensation seeking behavior, and higher energy and activity than in normal populations is presented.Calvin, one of the title characters in the comic strip Calvin and Hobbes, exemplifies many teachers' worst nightmare. He is the Dennis the Menace of the 90's — bright, inquisitive, imaginative, active, and always into something. Many strips depict his conflicts with school personnel and other adults, often as a result of his runaway imagination. Because his imagination is so vividly depicted, the strips provide excellent examples of creative strengths. However, the same strips could also be used to illustrate the behavior of a classic case ofattention‐deficit hyperactivity disorder(ADHD). There are so many similarities in the behavioral descriptions of creativity and ADHD that one is left to wonder, could these be overlapping phenomena?The focus of this article will be on the similarities between the behavioral manifestations of ADHD and creativity, some speculations about their common etiology, some illustrative case studies, and practical implications of mistaking one for the other. In order to comprehend how two such apparently different syndromes could be confused, a better understanding of the history and evolution of the concept of Attention‐Deficit Hyperactivity Disorder is necessary. Therefore, this article will begin with a brief historical ove

ISSN:0022-0175    

DOI:10.1002/j.2162-6057.1994.tb01191.x

出版商:Blackwell Publishing Ltd    

年代:1994

数据来源: WILEY

摘要:

AbstractTwo empirical studies examined the similarities and differences between creative professionals in science and art. In the first, 16PF personality profiles of industrial scientists, musicians and artists, and general undergraduates (N= 99) showed no difference between scientific and artistic groups on the Creativity composite index, and both groups differed significantly from general undergraduates. There were a few significant differences on specific traits, however. In the second study, self‐reports of involvement in creative behavior collected from larger similar samples (N= 590) were factor analyzed. Two distinct but correlated factors (r= .32) emerged that separated artistic from scientific and business activity. The results indicated that people who specialize in one content domain often make contributions in other domains as wel

ISSN:0022-0175    

DOI:10.1002/j.2162-6057.1994.tb01192.x

出版商:Blackwell Publishing Ltd    

年代:1994

数据来源: WILEY