{"title":"Significant Form and Aesthetic Emotion","authors":"M. Hussey","doi":"10.1093/oso/9780190462321.003.0018","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0018","url":null,"abstract":"The early twentieth-century revolution in visual art that came to be known in England as post-impressionism emphasized the view that artistic creativity resides not only in the making of the artwork, but also in the interaction between the artwork and the spectator, an orientation which the contemporary discipline of neuroaesthetics holds in our time. Clive Bell’s theory of “significant form” provided an approachable way for the British public to integrate their understanding of the new art into existing notions of art history and led to a severely diminished role for representation in visual art. Bell’s theory is identifiable as one manifestation of pervasive changes in the understanding of creativity and perception that were sweeping through Europe in the late nineteenth and early twentieth centuries. Bell could not say why certain combinations of lines and colors led to the experience of an “aesthetic emotion,” only that they did. Contemporary researchers in neuroaesthetics, such as Semir Zeki, have returned to Bell’s notion to ask whether the experience of aesthetic emotion might be due to some common neural organization. This chapter points to commonalities between the speculations of Bell and other members of the Bloomsbury Group, such as Virginia Woolf and Roger Fry, and those of contemporary researchers into brain processes.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127648894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Using Neuroscience to Image the Creative Brain","authors":"N. Andreasen","doi":"10.1093/oso/9780190462321.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0009","url":null,"abstract":"The nature and sources of creativity have intrigued people for many years. During the early phases of this effort, people relied on anecdotal or historical accounts, but in the twentieth century the emphasis shifted to empirical studies. Assuming that high intelligence (“genius”) was associated with creativity, investigators relied on IQ tests to select subjects for study. In the mid-twentieth century the emphasis shifted to custom-designed tests that assessed more specific components of creative thinking. With the development of neuroscientific methods and neuroimaging, the emphasis has shifted to include methods that directly measure brain activity, based on the assumption that creative ideas are the product of brain activity.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125880279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Creativity and the Self-Made Worldview","authors":"L. Gabora","doi":"10.1093/oso/9780190462321.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0012","url":null,"abstract":"Creativity is usefully viewed from the perspective of personal “worldviews.” which describe the mind as experienced subjectively, from the inside. The worldview of an uncreative person reflects what they’ve been told, while the worldview of a creative person reflects what they’ve done with what they’ve been told to create a self-made worldview. The capacity to generate such a self-made worldview arose first with development of the capacity for one thought to trigger another thought. This chaining allows free-association, critical reflection, or complex behavioural thought sequences to be created and recalled for material with high psychological entropy to be restructured to form a new idea or perspective. However, a second capacity important for creative thought also is needed: contextual focus, the ability to adaptively shift between convergent and divergent modes of thought. Whereas chaining allows the connecting of closely related items in memory, contextual focus enables the forging of distant connections for sophisticated creative expression. Chaining is sufficient for “little-c”, everyday creative ideas, but contextual focus is need for the generation of those “big-C” creative ideas that define major conceptual shifts. These phenomena of mind arise at the level of the brain with coordinated activity of groups of collectively co-spiking neurons (neural cliques). Those that respond to more general or abstract aspects of a situation offer a straightforward mechanism for contextual focus, for example; with associative thought, as more aspects of a situation are taken into account, more neural cliques are recruited. Gabora’s global mind perspective highlights the evolutionary significance of creativity: cultural evolution became possible with the emergence of a creative worldviews that are self-organizing, self-mending, communally interacting, and self-propagating.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128630891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Twentieth-Century Pathological Writers and Their Creativity","authors":"S. Henke","doi":"10.1093/oso/9780190462321.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0015","url":null,"abstract":"Culturally constructed pathologies exhibited by three authors of the modernist period: Virginia Woolf, James Joyce, and D. H. Lawrence, reveal an emotional trajectory from paralyzing depressive or obsessive behavior to explosions of creative genius channeled into experimental fiction. Each of these authors struggled with a personal history of psychological distress evinced by genetic, experiential, or cultural factors and exacerbated by traumatic events in childhood or adolescence. All three sought to handle posttraumatic stress through complex gestures of aesthetic reenactment in a process that might be described as scriptotherapy. Woolf epitomizes the tortured artist grappling with so-called madness. Throughout her canon, she self-consciously struggles with irreconcilable issues of gender, abjection, and mourning. What appears to have been bipolar disorder in Woolf’s own psychiatric history might well have engendered a lifetime of creativity punctuated by severe bouts of debilitating depression. Joyce struggled with a pathological fear of erotic betrayal that spurred an obsessional fascination with adultery and with the enigma of spousal complicity, a drama whose erotic perversities were later played out in his twentieth-century epic novel, Ulysses. D. H. Lawrence proved somewhat notorious for his pathological obsessions with sexual desire, homosocial bonding, erotic loss, and conjugal betrayal. These authors worked through pathological symptoms to convert the seeds of incipient madness into burgeoning works of literary genius. They incorporated the pain of traumatic loss into the triumph of aesthetic integration via the creation of radically innovative and experimental art.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127095339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Clues to Human Creativity","authors":"C. Stagg, Geraint A. Wiggins","doi":"10.1093/oso/9780190462321.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0005","url":null,"abstract":"Creativity is one of the defining features of humanity. However, the mechanisms involved in the generation of novel and interesting ideas are not, at least from this perspective, extensively studied. Creativity as a property is easily (if subjectively) identified but notoriously hard to do define. One aspect on which most definitions agree is the necessity for domain knowledge: to be significantly creative in an area of endeavor, one needs knowledge of that area. Such a need entails the involvement of human memory and learning as a precursor to creative activity. In this chapter, the authors discuss the relationship between memory and creativity, looking at the potential for mathematical models and empirical study to elucidate the connections between them.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126051768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Distinctive Creativity of Leonardo and Michelangelo","authors":"J. Onians","doi":"10.1093/oso/9780190462321.003.0019","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0019","url":null,"abstract":"The artistic creativity of Leonardo da Vinci and Michelangelo can be studied from a neuroscientific perspective. We can appreciate their innovativeness if we recognize that creativity is rare, for good evolutionary reasons. Our genetic material predisposes us to imitate our elders and betters because it is safer that way. This is why norms are so prevalent. This is also why innovation is rare, and why it is often found in the work of individuals who, for some reason, are outside the norm. Such people will possess neural resources that are exceptional, and none will be more important for artists than their default mode networks (DMN), which are vital because of their integration of past memories, present experience, and future planning. The more independent and non-normative the artist, the more crucial are such resources, especially for artists such as Leonardo and Michelangelo. Their family backgrounds, family relationships, and experiences were all unlike those of other people, equipping them with highly differentiated networks, which they were in a good position to exploit because of their brains’ neuroplasticity and their training in attention which gave them their mental discipline. These two artists were also skilled in several fields which contributed to their creativity. Their conscious interdisciplinarity included insights from visual arts and music (for Leonardo), from architecture (for Michelangelo), and from the study of human anatomy for both artists.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130938710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Musical Imagination","authors":"Bruce Adolphe","doi":"10.1093/oso/9780190462321.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0020","url":null,"abstract":"Composers have taken various approaches to create musical compositions, including an exploration of the relationship between intellect, emotion, and memory as they combine in the imagination. In this chapter, aspects of compositional thought—defined primarily in terms of dreaming and thinking—are considered in detail, and the reader is given means to explore these methods of thought through specific imagination exercises. The author also examines these concepts through historical and contemporary examples of the creative process, with analyses that link personal real-life experiences to musical ideas in music by Mozart and Beethoven, as well as in works by the author. Examples of the author’s own creative process are examined, with particular attention paid to the relationship of inspiration and improvisation to the selection of ideas and the realization of those ideas through technique and craft. A central focus is the process of creative decision-making and its link to emotional authenticity as a manifestation of the composer’s memories and inner life. The idea of truth and personal artistic expression is investigated. Particular principles of composing—surprise, emotional authenticity, economy, and unity—serve as essential tools for assessment during the composing process. The role of unconscious thought is considered as an aspect of the mysterious side of the creative process, linked to dreaming and associative thinking. Finding musical inspiration from real life, neuroscience, and preexisting music are considered in depth within the context of compositional analysis. Neuroscience in particular is explored along with the composer’s work with neuroscientist Antonio Damasio.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125856861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fluid Intelligence, Working Memory, and Creativity","authors":"Oshin Vartanian","doi":"10.1093/oso/9780190462321.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0003","url":null,"abstract":"Interest in understanding the relationship between intelligence and creativity has a long history in psychology. Conceptions of this relationship have varied greatly, ranging from perceiving intelligence and creativity as completely unrelated constructs to perceiving them as entirely coincident sets. However, the truth appears to lie somewhere between those two extremes. Specifically, recent research employing improved measures of both intelligence and creativity has shown that creativity is related to individual differences in fluid intelligence—defined as the ability to solve novel problems. In addition, creativity has also been shown to be related to individual differences in executive functions, specifically its updating and inhibition components. However, aside from fluid intelligence and executive functions, behavioral and neural evidence has demonstrated that creativity is also supported by associative processes. Indeed, the dynamic interplay between executive and associative processes might be a hallmark of creativity.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133818390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Henry James and the Creative Process","authors":"P. Schneck","doi":"10.1093/oso/9780190462321.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0013","url":null,"abstract":"Creativity as a process may be said to constitute a particular mode of experience and to own a specific phenomenology which can be described, compared, and evaluated. Creativity can be viewed as a cultural practice whereby contextual factors, with the environment that lies outside the brain, must be considered beyond the exclusive biological and neural foundations of aesthetic experience. The work of Henry James presents a writer’s continuous attempt to come to a deeper understanding of the creative process at the center of his art, driven by an understanding of human experience as essentially based and grounded in creativity. Looking at James’s notebooks, his prefaces, and also some of his works, we can trace the creative process in all its complexity, as a particular mode of experience and also as a “method” or strategy to stimulate and sustain the creative state. James shows us that there are distinct features of “creative states” which are not exclusive to literary creativity. The diversity and innovativeness of human experience is a creative factor in itself, so that “everyday” little-c contributes to big-C. James’s thorough exploration of the creative process may be compared to more recent attempts in the sciences to understand creativity in cognition in general and literature in particular.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127254319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Twists and Turns of Creativity","authors":"Suzanne Nalbantian","doi":"10.1093/oso/9780190462321.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780190462321.003.0001","url":null,"abstract":"Suzanne Nalbantian provides an overarching synthesis of the conclusions about creativity arrived at by the neuroscientific and humanist contributors to this volume. She shows that the neuroscience chapters present a span of approaches, including a “workspace model” of the creative brain (Jean-Pierre Changeux), the role of the default mode network (Marcus Raichle), cognitive processing during dreaming (Robert Stickgold), the fundamental systems and cellular foundations of creativity (Jaak Panksepp, Alcino Silva, and John Bickle), and the importance of brain circuit plasticity in quantitative creative cognition (Geraint Wiggins and Charlotte Stagg). The psychologists Robert Sternberg, Oshin Vartanian, and Liane Gabora offer cognitive approaches based on phenomena of mind. Nancy Andreasen and Paul Matthews show how studies of exceptional brains—those marked by genius or those altered by disease or drugs—illuminate the mechanisms of creativity. The humanist contributors to this book provide a range of perspectives from those who analyze creativity as a trait of the individual (Suzanne Nalbantian, Suzette Henke, Mark Hussey, and John Onians) and those who view it as shaped by social context (Peter Schneck, Donald Wehrs, and John Foster). Personal narratives of the creative process are provided by the musician Bruce Adolphe and the contemporary novelist Richard Powers. All the contributors explore aspects of the conscious processing and spontaneous, nonconsious processing that define creativity, which this volume investigates through a unique, interdisciplinary optic.","PeriodicalId":311266,"journal":{"name":"Secrets of Creativity","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123823226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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