Creative thought in Artists

Patrick, Catharine

doi:10.1080/00223980.1937.9917525

Cited by 158 publications

(92 citation statements)

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“…It has "shown its usefulness through years" (Runco, 2004, p.665) inspiring "hundreds, if not thousands, of spirited discussions and research projects" (Vartanian, Bristol, & Kaufman, 2013, p.xiv). Despite being published almost nine decades ago the mode still holds sway as a conceptual anchor for many creativity researchers (e.g., Dewett, 2003;Dodds, Smith, & Ward, 2002;Ellwood, Pallier, Snyder and Gallate, 2009;Gallate, Wong, Ellwood, Roring, & Snyder, 2012;Healy & Runco, 2006;Horan, 2007Horan, , 2009Horng & Hu, 2008, 2009Howard-Jones & Murray, 2003;Jalil, 2007;Kristensen, 2004;Mainmelis, 2002;Norlander & Gustafson, 1997, 1998Orlet, 2008;Pagel & Kwiatkowski, 2003;Patrick, 1937;Penaloza & Calvillo, 2012;Rastogi & Sharma, 2010;Segal, 2004;Sio & Rudowicz, 2007;Yeh, 2004). Although some creativity researchers have proposed finer granularities (e.g.…”

Section: Wallas' Four-stage Model Of the Creative Process: More Than mentioning

confidence: 99%

Wallas’ Four-Stage Model of the Creative Process: More Than Meets the Eye?

Sadler‐Smith

2015

Creativity Research Journal

167

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Based on a detailed reading of Graham Wallas' Art of Thought (1926) it is argued that his four-stage model of the creative process (Preparation, Incubation, Illumination, Verification), in spite of holding sway as a conceptual anchor for many creativity researchers, does not reflect accurately Wallas' full account of the creative process. Instead it is suggested that a five-stage model that gives due recognition to the detailed treatment Wallas gave to the Intimation stage is a more authentic representation of his explanation of creativity. A version of this model with three levels of 'proximity to consciousness' (non-consciousness; fringe consciousness; consciousness) and five stages (Preparation; Incubation; Intimation; Illumination; Verification) is presented as a general conceptual architecture within which relevant concepts and theories from more recent creativity research, including neuroscience and intuition, are positioned and from which a number of implications are drawn.

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Section: Wallas' Four-stage Model Of the Creative Process: More Than mentioning

confidence: 99%

Wallas’ Four-Stage Model of the Creative Process: More Than Meets the Eye?

Sadler‐Smith

2015

Creativity Research Journal

167

View full text Add to dashboard Cite

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“…For example, Patrick (1937) and Roe (1975) interviewed visual artists about their creative processes and concluded that imagery experiences are a crucial part of such processes. Furthermore, Rosenberg (1987) provided a qualitative analysis of imagery-related processes during different stages of artistic processes and concluded that visual artists extensively use imagery for collecting and storing images when drawing and evaluating completed paintings.…”

Section: Studymentioning

confidence: 99%

Object-spatial imagery: a new self-report imagery questionnaire

Blajenkova

Kozhevnikov

Motes

2006

Appl. Cognit. Psychol.

297

308

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SUMMARYA new instrument, the Object-Spatial Imagery Questionnaire (OSIQ), was designed to assess individual differences in visual imagery preferences and experiences. The OSIQ consists of two scales: an object imagery scale that assesses preferences for representing and processing colourful, pictorial, and high-resolution images of individual objects and a spatial imagery scale that assesses preferences for representing and processing schematic images, spatial relations amongst objects, and spatial transformations. Across a series of studies, the object imagery scale was significantly correlated with the performance on object imagery tasks; the spatial imagery scale was significantly correlated with the performance on spatial imagery tasks; but neither correlated with measures of intelligence. Additionally, compared to visual artists and humanities professionals, scientists reported higher spatial imagery ratings; however, compared to scientists and humanities professionals, visual artists reported higher object imagery ratings. Thus, the results from the studies supported the predictive, discriminant, and ecological validity of the OSIQ.

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“…It has been further proposed that creative problem solving is reached in four successive phases: first, intense but unsuccessful confrontations with the elements of the problem; second, a decision to put the problem aside; third, a dormant period with no further conscious work on the problem, e.g., incubation; and finally, a ''flash of insight'' in which the solution suddenly enters consciousness while the individual is dreaming or engaged in idle thought (2)(3)(4). Evidence for the role of these phases in creative problem solving (e.g., a dormant period or incubation), however, is inconsistent (5-7).…”

mentioning

confidence: 99%

REM, not incubation, improves creativity by priming associative networks

Cai

Mednick

Harrison

et al. 2009

Proc. Natl. Acad. Sci. U.S.A.

418

331

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The hypothesized role of rapid eye movement (REM) sleep, which is rich in dreams, in the formation of new associations, has remained anecdotal. We examined the role of REM on creative problem solving, with the Remote Associates Test (RAT). Using a nap paradigm, we manipulated various conditions of prior exposure to elements of a creative problem. Compared with quiet rest and non-REM sleep, REM enhanced the formation of associative networks and the integration of unassociated information. Furthermore, these REM sleep benefits were not the result of an improved memory for the primed items. This study shows that compared with quiet rest and non-REM sleep, REM enhances the integration of unassociated information for creative problem solving, a process, we hypothesize, that is facilitated by cholinergic and noradrenergic neuromodulation during REM sleep.The night before Easter Sunday of that year I awoke, turned on the light, and jotted down a few notes on a tiny slip of paper. Then I fell asleep again. It occurred to me at 6 o'clock in the morning that during the night I had written down something most important, but I was unable to decipher the scrawl. The next night, at 3 o'clock, the idea returned. It was the design of an experiment to determine whether or not the hypothesis of chemical transmission that I had uttered 17 years ago was correct. I got up immediately, went to the laboratory, and performed a single experiment on a frog's heart according to the nocturnal design.Otto Loewi, 1938 German, Nobel laureate for his work on the chemical transmission of nerve impulses.

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Creative thought in Artists

Cited by 158 publications

References 0 publications

Wallas’ Four-Stage Model of the Creative Process: More Than Meets the Eye?

Wallas’ Four-Stage Model of the Creative Process: More Than Meets the Eye?

Object-spatial imagery: a new self-report imagery questionnaire

REM, not incubation, improves creativity by priming associative networks

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