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Alcohol input and creative output.

Is alcohol use a help or a hindrance for creativity? And, conversely, what effect does creative activity have on alcohol use? In order to answer these questions, relevant information was obtained from the biographies of 34 well known, heavy drinking, 20th century writers, artists or composers/performers. Analysis of this information yielded a number of interesting findings. Alcohol use proved detrimental to productivity in over 75% of the sample, especially in the latter phases of their drinking careers. However, it appeared to provide direct benefit for about 9% of the sample, indirect benefit for 50% and no appreciable effect for 40% at different times in their lives. Creative activity, conversely, can also affect drinking behavior, leading, for instance, to increased alcohol consumption in over 30% of the sample. Because of the complexities of this relationship, no simplistic conclusions are possible.

Alcohol Drinking

Use of a motor creativity test with young learning disabled boys.

The Torrance Test of Thinking Creatively in Action and Movement, developed to measure the motor creativity of children ages 3 to 8 yr., has been subjected to little psychometric study. The purpose of this study was to examine the feasibility of using this instrument with young learning disabled boys and to determine whether differences between learning disabled boys and the test manual's nondisabled normative sample (n = 193) were significant. Subjects were 30 learning disabled boys (M = 8.11 yr.), representing seven different school systems. Significant differences were noted between two groups on fluency, imagination, and total motor creativity but not on originality. Test-retesting over 1 to 14 days gave coefficients of .71 to .89. The alpha coefficient for total test internal consistency was .79.

Child

Masculinity-femininity in creative college women.

The possible relationship between masculinity and creativity in college women was investigated through a battery of masculinity-femininity scales that tapped both manifest and latent masculinity, factorially derived clusters, and an ipsative measure. Two samples (n = 45 each) of women who had scored above the 75th percentile and below the 25th percentile respectively on two measures of creativity were used. High creative subjects scored higher on activity and described themselves as more masculine; indications are that they possess a broader, less stereotyped sex-role identity.

Adolescent

The measurement of creativity by the Stroop Color and Word Test.

The development of a valid and reliable measure of creativity has been a challenging problem to psychologists. Gamble and Kellner (1968) have suggested that the Stroop Color and Word Test (SCWT) might be such a measure. The advantages of the Stroop include that it tests basic processes, is stable over long periods of time, and is easy to administer and score. The present study investigated the relationship of the Stroop to three independent measures of creativity: a verbal task, a nonverbal task, and ratings by teachers. In all cases a significant relationship was found between these measures and the Stroop interference score. A concept of creativity as a basic underlying process is discussed by the author as well as implications for further research.

Adolescent

Homosexuality and creativity.

Despite heightened interest in both homosexuality and creativity, as well as theoretical and anecdotal evidence linking the two, there are virtually no empirical data relevant to this hypothesized relationship. Four groups of homosexuals (activists, social homosexuals, clients of a college counseling center, and artistic homosexuals) and four groups of control heterosexuals matched on age, educational level, and verbal intelligence were administered a battery of tests that included nine measures of aspects of creativity. Of the 36 possible comparisons, nine significant mean differences were obtained, but in all cases homosexuals scored lower. There is thus no support for the contention that homosexuals are more creative.

Adult

Relationship of non-verbal rigidity and creative perceptions.

The relationship of rigidity and creative perceptions of 214 Hungarian adolescent males and females was explored using a non-verbal test of rigidity (Breskin Rigidity Test) and a measure of creative perceptions (Something About Myself). Males and females were divided into Moderately Rigid and Low Rigid groups. An analysis of variance of the data showed no significant differences in creative perceptions relative to rigidity level, sex, or interaction of rigidity level and sex.

Adolescent

Preference for stimulus complexity and architectural creativity.

Previous research linking creativity with preference for stimulus complexity was questioned. A measure of preference for stimulus complexity was derived from a previous study in which mean ratings of complexity of stimuli in the Welsh Figure Preference Test were obtained. Preferences for complexity by 116 architects in MacKinnon's (1961) study were unrelated to judged creativity. Barron-Welsh Art Scale scores of these subjects were significantly related to creativity only after the effects of preference for stimulus complexity were statistically removed.

Architecture

Alcohol and creative writing.

A repeated-measures design was used to test for the effects of alcohol on creative writing as measured by use of novel figurative language. 11 male social drinkers participated in a creative writing task under two conditions, alcohol (high dose: 1.1 ml. ethanol/kilogram body weight) and placebo. In the alcohol condition, within-subject comparisons indicated significantly greater quantity of creative writing while intoxicated. These results were interpreted as supporting the belief that alcohol can reduce "writer's block," at least amongst nonalcoholic subjects.

Adult

Beethoven's creative illness.

One phase of Beethoven's life, between his 45th and 50th year, characterized by very low creativity and overwhelming stress situations, is subjected to a psychiatric interpretation. The historical background is briefly sketched and 5 precipitating stress factors are outlined. The symptoms of his illness are described, using Beethoven's letters as source material. A brief discussion of Beethoven's musical style prior to and after his illness is based on quotations from three eminent musical scholars. A resume of Beethoven's physical and psychological disorders during his life are given and the conclusion is reached that between 1815 and 1820, Beethoven experienced a creative illness which was psychotic in type, ended in recovery and radically changed his musical creativity.

Creativity

An investigation of the relationship between cognitive tempo and creativity in preschool-age children.

70 preschool-age children were administered a modified version of the Matching Familiar Figures test as well as a modified version of the picture completion task from the Torrance Tests of Creative Thinking. Sex of subject and cognitive tempo were combined factorially with type of creativity measure in a 2 times 2 times 4 repeated-measures design. A significant effect for cognitive tempo was found showing reflective subjects scoring higher than impulsive subjects on each measure of creativity.

Child, Preschool

[Creative moments during analytical processes].

Examples from his clinical work are used by the author to illustrate creative instances during analysis. First, there appear a dis-idealization and a threat of chaos, followed by mourning, reparation and sublimation. The creative function originates in a patient's attempt to objectify his or her ego in different ways--which involves a phantasy of being re-born in order to love someone and be loved in turn. It represents a triumph of life over death, of health over madness. In other words, the creative function means putting psychic chaos into order with pre-existing elements by means of original, new, better-integrated changes.

Adult

Learning nursing: what factors are responsible for a lack of creativity?

The following article discusses some of the many and complex factors responsible for a lack of creativity in nursing education. Creativity is seen as a positive attribute, enhancing nursing care. The occupational socialisation of the nurse is explored in addition to the power ideologies at play both in the clinical area and in the school/college of nursing that could affect creative thought. Strategies to remedy the situation are explored and tentative suggestions made. These include changes at the macro and micro level where the student of nursing learns.

Creativity

The creative process in biomedical visualization: strategies and management.

The phases of the creative process (identification, preparation, incubation, insight, and elaboration/verification) are related to strategies for management of biomedical illustration projects. The idea that creativity is a mystery--and is unpredictable and uncontrollable--is not accepted. This article presents a practical way to encourage creative thinking in the biomedical visualization studio.

Creativity

Theories of creativity.

Creativity is an important aspect of our lives. The term distinguishes mediocre achievements from those of excellence. Creativity is a manifestation of thought processes. To better understand these processes this article reviews five current theories of creativity from psychoanalytic and cognitive science approaches.

Association Learning

Psychoanalytic theory and the problem of creativity.

The current crisis of psychoanalysis also involves studies of various forms of creativity. After having pointed out the need for distinction between clinical-empirical theory and hypothetical theory (such as metapsychology) the author identifies and summarizes a number of trends of investigation as reported in our literature: libidinal-energetic, contenutistic (unconscious fantasies), anthropomorphic (of the ego), aggression-reparation, phenomenological, and object-relationship approaches. The role played by metapsychological concepts (the author, in agreement with those who consider them unacceptable, discusses some of the most well-known criticisms), and the confusion between theoretical levels are responsible for having made the psychoanalytical contribution entirely unsatisfactory at a higher explanatory level and for having hindered adequate reorganization of data of an empirical nature. After having examined several elements involved in creativity (symbolism, role of pathology and body experience, etc.), the author outlines a personal theoretical hypothesis of the structural type as a basis for the establishment of a clinical-empirical theory which, as regards research on creativity too, may constitute the chief field of investigation for psychoanalysis.

Aggression

The curative and creative aspects of insight.

Insight is a sine qua non of the psychoanalytic process and is a condition, catalyst, and consequence of the psychoanalytic process. Analytic insight is defined and differentiated from other types of self-knowledge and awareness and from pseudo insight; there are different levels and underlying processes in the development of insight. The importance of insight is delineated in theory and therapy, in analyst and patient, and in psychoanalysis and psychotherapy. Psychoanalysis aims to minimize noninsightful influences and to maximize insight leading to structural change. Psychoanalysis is not without a goal, but has the inexorable goal of expanded insight. Clinical limitations to gaining and retaining insight are recognized. Stress is placed on the acquisition and creation of insight and its relation to ego development, analytic progress, and adaptive mastery. Insight and creativity are complementary, and insight has creative and novel configurations. Although it is organized and consolidated in conscious verbalization, insight may proceed outside awareness. An unnoticed case of Freud's provides an example of creative insight. The achievement of insight effects and reflects structural change. Clinical psychoanalysis maximizes insight and minimizes other therapeutic influences.

Adaptation, Psychological

Imaginary companions in childhood and adult creativity.

Case material is presented to illustrate the thesis that the ability to create an imaginary companion during childhood is an early expression of the special ego aptitudes found in creative individuals in adult life. Such "companions" allow these children to attempt to master creatively a variety of narcissistic mortifications suffered in reality and to displace unacceptable affects. In creative adults who had imaginary companions in childhood, the early fantasies serve as an organizing schema in memory for the childhood traumata. Stimuli in adult life which evoke the earlier traumata may revive the original imaginary companion fantasies. These then serve as nodal bases for the creation of specific adult works of art.

Adult