Imagery, Creativity, and Discovery: A Cognitive Perspective by Beverly Roskos-Ewoldsen, M. J. Intons-Peterson, R. E.

By Beverly Roskos-Ewoldsen, M. J. Intons-Peterson, R. E. Anderson

What components have an effect on creativity and the iteration of artistic photos? What elements impact the power to reinterpret these pictures? examine defined during this ebook exhibits that expectancies constrain either one of those attributes of creativity. features of the imagined development, reminiscent of cohesiveness or its mental goodness, additionally have an effect on photograph new release and reinterpretation. different proof exhibits that photos should be mixed mentally to yield new, manipulable composites. Cognitive types surround the learn and expand it to fields as various as structure, track, and challenge fixing.

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Extra resources for Imagery, Creativity, and Discovery: A Cognitive Perspective

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Its utility may be constrained, however, by the greater difficulty in dissembling and transforming cohesive patterns and those with intact reference frames than less cohesive patterns and those with no reference frames. Challenges remain. Are some people better imagers than others as measured by image production and manipulation, rather than by pencil-and-paper or self-report? Some observerdimagers may process their image generation and memory searches more rapidly than others. These individuals presumably would be faster at gaining access to reference-frame reversals than others, and might be considered as more adept at discovery and, perhaps more creative.

When subjects are not able to differentiate, the task does not indicate why. Chambers and Reisberg postulate that the "backsides" of the images were deficient or even that the information was missing. These interpretations are not warranted. It may be that the subjects had substantial information about both the original stimulus and their images, but they could not distinguish between the two test stimuli. Or they might have forgotten the original and lost the image. In either case, we would expect chance-level performance.

Some of the reversible figures in Shepard's (1990)book, Mind Sights, are possibilities. Figures with or without specific features then would be presented for yesho identity judgments. This approach should disclose whether and what kind of featural information is lost from the images. Integrating over various findings provides some evidence for Shepard's second contention that the special richness of imagery may facilitate creativity and discovery. When we generate images from scratch, so to speak, by constructing them from individual components, we seem to build images with reference frames, both in the sense that the images are guided by our linguistic concepts and in the sense that the images have specific orientations, outlines, or configurations.

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