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Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. Painters paint to feel. They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the painter’s whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters’ own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters’ experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike.
This book preserves the original content and provides some insight into recent developments in the social psychology of creativity. It begins to study the ways in which social factors can serve to maintain creativity and cognitive mechanisms by which motivation might have an impact on creativity.
Much work has been done on cognitive processes and creativity, but there is another half to the picture of creativity -- the affect half. This book addresses that other half by synthesizing the information that exists about affect and creativity and presenting a new model of the role of affect in the creative process. Current information comes from disparate literatures, research traditions, and theoretical approaches. There is a need in the field for a comprehensive framework for understanding and investigating the role of affect in creativity. The model presented here spells out connections between specific affective and cognitive processes important in creativity, and personality traits associated with creativity. Identifying common findings and themes in a variety of research studies and descriptions of the creative process, this book integrates child and adult research and the classic psychoanalytic approach to creativity with contemporary social and cognitive psychology. In so doing, it addresses two major questions: * Is affect an important part of the creative process? * If it is, then how is affect involved in creative thinking? In addition, Russ presents her own research program in the area of affect and creativity, and introduces The Affect in Play Scale -- a method of measuring affective expression in children's play -- which can be useful in child psychotherapy and creativity research. Current issues in the creativity area are also discussed, such as artistic versus scientific creativity, adjustment and the creative process, the role of computers in learning about creativity, gender differences in the creative process, and enhancing creativity in home, school, and work settings. Finally, Russ points to future research issues and directions, and discusses alternative research paradigms such as mood-induction methods versus children's play procedures.
Previously neglected, more and more affect and creativity is recognized as an area that is important and exciting area to investigate. This book presents the very latest ideas and research by leaders in the field about the role of affect in the creative process. Affect, Creative Experience and Psychological Adjustment is an arena where new theories and concepts can be presented, research findings compared and discussed, methodological issues debated, and future research outlined. Key questions in affect and creativity focus on identifying specific affective processes that are most important in creativity, discovering the underlying mechanisms that account for the relationships between affect and creativity, exploring differential effects of various types of affect, such as positive and negative affect, on creativity and understanding how these things relate to psychological adjustment. As with any new line of research investigation, there is a fermenting of ideas, speculations, research findings, hunches, methodological issues and tests of theoretical models that evolves into a clear vision of heuristic theoretical models and identification of the most important research questions. This book contributes to that process in the area of affect and creativity.
This ground-breaking book provides a unique insight into artistic creativity that lays the foundation for a new theory. Through a review of documents such as essays, published interviews, lecture notes, and more, the book uses case studies of six contemporary artists to provide a detailed phenomenological study of artistic creativity. The book offers a narrative account of six contemporary artists and their ways of approaching art-making. Through comprehensive accounts based on the individual artist’s descriptions, the book reveals an existential dimension of art-making that explores the inspirational moment, the state of mind during creativity, how creativity can originate in a spontaneous stream of consciousness, and how emotions play a major role in the creative process. The book sets out a unique understanding of artistic creativity as an alternative to the prevailing cognitive conceptions within psychology. Offering novel insights into how art is created and can influence the human psyche, the book will primarily appeal to academics, scholars, and post-graduate students within the area of creativity research, psychological aesthetics, and the psychology of art, as well as those with an interest in art and artistic work.
Creativity and the Performing Artist: Behind the Mask synthesizes and integrates research in the field of creativity and the performing arts. Within the performing arts there are multiple specific domains of expertise, with domain-specific demands. This book examines the psychological nature of creativity in the performing arts. The book is organized into five sections. Section I discusses different forms of performing arts, the domains and talents of performers, and the experience of creativity within performing artists. Section II explores the neurobiology of physiology of creativity and flow. Section III covers the developmental trajectory of performing artists, including early attachment, parenting, play theories, personality, motivation, and training. Section IV examines emotional regulation and psychopathology in performing artists. Section V closes with issues of burnout, injury, and rehabilitation in performing artists. Discusses domain specificity within the performing arts Encompasses dance, theatre, music, and comedy performance art Reviews the biology behind performance, from thinking to movement Identifies how an artist develops over time, from childhood through adult training Summarizes the effect of personality, mood, and psychopathology on performance Explores career concerns of performing artists, from injury to burn out
The author identifies the problems of artistic creativity and outlines conditions conducive to artistic creation.
First published in 1986, neither the creative process nor the art object, singly or together, has been often in the forefront of sociological attention. The author suggests that we may safely assume that art is multidetermined, and that an adequate explanation of creativity will draw upon the conceptual and evidential resources of psychology, sociology, and anthropology. This is a study building on Harry Murray’s classic Explorations in Personality of the 1930s.
First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.