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By combining published research findings, data from official sources such as the United States Department of Justice National Crime Victimization Study, a certain amount of data from his own research, and the knowledge of many years experience, the author reflects upon issues such as drug and sex education in schools, school-sanctioned violence against children, the desirability of the death penalty, and mistreatment of the mentally ill in a prison treatment program.
This book re-examines the common view that a high level of individual creativity often correlates with a heightened risk of mental illness.
Creative criminals commit highly effective, novel crimes. From consumer fraud to terrorism, how can these creative criminals be stopped?
"Creativity is typically perceived to be a positive, constructive attribute and, yet, highly effective, novel crimes are committed which illustrate that creativity can also be utilised to serve a darker and more destructive end. But how can these 'creative criminals' be stopped? Adopting a psychological approach, renowned subject experts Cropley and Cropley draw upon concepts such as 'Person', 'Process', 'Press', and 'Product' to explain how existing psychological theories of creativity can be applied to a more subtle subset of ingenuity; that is to say, criminal behaviour and its consequences. Creativity and Crime does not look at felony involving impulsive, reflexive, or merely deviant behaviour, but rather the novel and resourceful measures employed by certain criminals to more effectively achieve their law-breaking goals. The book transcends the link between crime and creativity and proposes a range of preventive measures for law-enforcers. Scholars and graduates alike will find this an invaluable and illuminating read"--
Creativity is typically perceived to be a positive, constructive attribute and yet, highly effective, novel crimes are committed which illustrate that creativity can also be utilised to serve a darker and more destructive end. But how can these 'creative criminals' be stopped? Adopting a psychological approach, renowned subject experts Cropley and Cropley draw upon concepts such as 'Person,' 'Process', 'Press' and 'Product' to explain how existing psychological theories of creativity can be applied to a more subtle subset of ingenuity; that is to say criminal behaviour and its consequences. Creativity and Crime does not look at felony involving impulsive, reflexive or merely deviant behaviour, but rather the novel and resourceful measures employed by criminals to more effectively achieve their lawbreaking goals. The book transcends the link between crime and creativity, and proposes a range of preventative measures for law enforcers. Scholars and graduates alike will find this an invaluable and illuminating read.
Unforeseen and precipitous violence is a reality of the times we live in, but it has always been a reality in the mental health profession. The main premise of this book is to make art therapists aware of the unpredictable violence that may occur in their day-to-day work with clients and the presence of potential danger. The author stresses the importance of preventive measures to ensure safety. The preface describes the horrific event the author witnessed and her realization that psychotherapy is a dangerous profession. The first chapter sets the stage for the exploration of mass murders, violence, creativity, and mental illness. Chapter 2 provides framework for the cultural context concerning the contemporary societal and cultural landscape within which mass murders exist. Major changes in mental health laws are discussed, including the individual versus community rights in mental health systems. Chapter 3 is a brief history of the treatment of violence in the United States mental health system. Gun violence, the stigma of mental illness, and the threat assessment in schools are explored. Chapter 4 examines art, violence, and mental illness, including historic artistic figures in which violence and/or mental illness was an issue. The artwork of serial killers such as Adolf Hitler, the psychiatrically institutionalized artist Martin Ramirez, and the Outsider artist Henry Darger are discussed. The author also describes her own experience as an expert witness for the trial of serial killer Eric Leonard. Chapter 5 displays the author's mass murderers’ artwork with a brief description of each event. Chapter 6 depicts the mass murders that occurred in the United States, October 2017 through September 2018. Chapter 7 portrays a reaction to the Marjorie Stone Douglas school shooting and the essay evoked by this tragedy. Chapter 8 offers practical suggestions to help art therapists find assistance and support in a dangerous practice. Safety orientation in art therapy education programs and job orientation are provided. Chapter 9 discusses additional practical suggestions for art therapists with help and support in a dangerous practice and culture. The last chapter encompasses final comments including the danger and calling of art therapy. This unique book will be of special interest to mental health practitioners, art therapists, social workers, educational therapists, and consultants.
With few exceptions, scholarship on creativity has focused on its positive aspects while largely ignoring its dark side. This includes not only creativity deliberately aimed at hurting others, such as crime or terrorism, or at gaining unfair advantages, but also the accidental negative side effects of well-intentioned acts. This book brings together essays written by experts from various fields (psychology, criminal justice, sociology, engineering, education, history, and design) and with different interests (personality development, mental health, deviant behavior, law enforcement, and counter-terrorism) to illustrate the nature of negative creativity, examine its variants, call attention to its dangers, and draw conclusions about how to prevent it or protect society from its effects.
This book provides an authoritative and highly readable review of the relationship between madness and crime by one of the leading authorities in the field. The book is divided into four parts, each essay focusing on selected features of madness which have relevance to contemporary society. Part 1 is about madness itself, exploring three main models − cognitive, statistical, and emotional. Part 2 is a short discussion on madness, genius and creativity. Part 3 is about the much neglected area of compulsion, an issue that has largely disappeared from public debate. The mad may have moved from victim to violator, yet fundamental questions remain − in particular how to justify compulsory detention, and who should undertake the process? The answers to these questions have sociological, ethical and jurisprudential elements, and cannot just re resolved by reference to medical authorities. Part 4 is about the links between madness and crime − focusing less on the question and nature of criminal responsibility and the various defences that go with this, more on the links between madness and crime and which particular crimes are linked with which types of disorder.
Art, Crime and Madness explores the relationship between creative innovation, deviance and morbidity. To innovate, one has to be able to view the medium and the object of creativity in a different, hitherto unexplored manner. The essence of art is creative innovation, coupled with an ability, in varying degrees, to transcend the boundaries of consciousness. But this 'ability' is also the prerogative of the mentally deranged. Likewise, the criminal and the deviant are more likely to transcend normative barriers while creating, hence the wide range of criminal and deviant behaviour in society. Although the inverse hypothesis does not hold -- the mere existence of deviance or morbidity does not predispose the individual to creativity -- nevertheless criminal and mad behaviour are often very innovative. This thesis is illustrated by historical case histories of creative deviance and genius madness, and contemporary observations. The painter Michelangelo Merisi Caravaggio killed a man while still a teenager, and a second victim during a ball game. In his lifetime he was considered degenerate, but today he is considered the greatest painter of the Italian Settecento, and his portrait adorns the Hundred-Thousand Lira note. Jean Genet the homosexual thief was born out of wedlock and as a teenager he transgressed almost all the paragraphs of the French criminal code. But he became a famous French playwright, the mouthpiece for criminals and deviants. His plays built up a philosophical apology for the raison d'etre of the criminal group.