Creativity in Modernist Literary Writers

2019 ◽  
pp. 319-335
Author(s):  
Suzanne Nalbantian
Keyword(s):  
Henry James ◽  
Creative Process ◽  
Sleep Mode ◽  
Dynamic Interactions ◽  
Creative Processes ◽  
Anais Nin ◽  
Conscious Processing ◽  
Transformative Process ◽  
Literary Devices ◽  
The Brain

This chapter presents a theory of creativity as a transformative process, derived from the study of a group of modernist writers used as case studies. Such transformation has analogues in the neuroscientific study of creativity, which deals with dynamic interactions between nonconscious and conscious processing. Certain literary authors illuminate the extent to which the creative process is conscious and top-down yet also nonconscious and bottom-up according to different states of the brain at different stages of the creative process. The prefix “trans” describes the brain’s interconnectivity that is exemplified in the transforming strategies that contribute to the artistry of these authors. Writers like Proust, Joyce, Woolf, Faulkner, and Anaïs Nin transform their life material into the art of their fiction through a variety of literary devices that can be scrutinized. The autobiographical material derives from various preliminary modes of creativity—the default mode network (DMN) in Nin, the rapid eye movement (REM) sleep mode among the Surrealists, encoded emotional memories in the case of Woolf and Nin, and fragments of quotidian life in the case of Henry James, Joyce, and Faulkner. These writers were cognizant of their creative processes, writing about them in notes, letters, diaries, memoirs, and prefaces and enacting them in their creative works.

Creativity of the Dream and Sleep State

2019 ◽  
pp. 124-149 ◽  
Author(s):  
Robert Stickgold
Keyword(s):  
Rem Sleep ◽  
Creative Process ◽  
Anterior Cingulate ◽  
Sleep State ◽  
Creative Processes ◽  
Dorsolateral Prefrontal ◽  
Full Speed ◽  
Stored Information ◽  
The Individual ◽  
The Brain

Rapid eye movement (REM) sleep is a stage of sleep that evolved in part to provide a privileged time in each day when the brain is disconnected from sensory input and freed of intentional, directed thought. The neurochemistry and neurophysiology of the brain during REM sleep is optimized for the exploration of normally ignored connections and associations within the brain’s vast repertoire of stored information. This includes changes in the activity of dorsolateral prefrontal, anterior cingulate, and medial orbital frontal cortices and the hippocampus, and reductions in norepinephrine and increases in acetylcholine in the cortex. This exploration of normally weak associations is critical to the creative process, and REM sleep can thus be considered a period of unbridled creativity. Much of this creative process is reflected in the content of dreams. Even without waking dream recall, changes within associative networks produced by the brain mechanisms of dream construction can leave these brain networks—and the individual—primed for reactivation at a later time, leading to the “discovery” of creative insights. Some, but not all, of these brain changes are also seen during periods of quiet rest with activation of the default mode network (DMN). When active, this network can likewise provide a state of enhanced creativity. Nevertheless, REM sleep and dreaming provide a protected two hours every day when creative processes run at full speed.

scholarly journals Effects of Restorative Environments on Creativity in Case of Architecture Education

2020 ◽  
pp. 242-257
Author(s):  
Beste Sabir
Keyword(s):  
Creative Process ◽  
Quantitative Methods ◽  
Free Association ◽  
Architectural Education ◽  
Architecture Education ◽  
Restorative Environments ◽  
Creative Processes ◽  
Education Production ◽  
Architectural Production ◽  
The Brain

Creativity is a mental process, and cognitive psychology has focused on this subject, especially in the last century. While neuroscience concentrates on creative processes; new data emerges. When we consider architectural production as a creative process, the "free association REST thinking mode" focuses on the principle of free circulating thought, allowing relaxation and free-thinking to lead to new connections (creative moments) in the brain. The paper aims to focus on how spaces affect the creative process in case of architectural education, production, and creation. If REST mode — as relaxation, meditation, and awareness — supports the process of creation, how do restorative (calming, meditative) spaces and environments affect this process as well? With this approach, students will be questioned with quantitative methods to collect data about the effects of faculty and meditative environments on the creative process.

Henry James and the Creative Process

2019 ◽  
pp. 239-258
Author(s):  
Peter Schneck
Keyword(s):  
Henry James ◽  
Creative Process ◽  
Aesthetic Experience ◽  
Contextual Factors ◽  
Human Experience ◽  
Cultural Practice ◽  
To Come ◽  
Distinct Features ◽  
The Brain

Creativity as a process may be said to constitute a particular mode of experience and to own a specific phenomenology which can be described, compared, and evaluated. Creativity can be viewed as a cultural practice whereby contextual factors, with the environment that lies outside the brain, must be considered beyond the exclusive biological and neural foundations of aesthetic experience. The work of Henry James presents a writer’s continuous attempt to come to a deeper understanding of the creative process at the center of his art, driven by an understanding of human experience as essentially based and grounded in creativity. Looking at James’s notebooks, his prefaces, and also some of his works, we can trace the creative process in all its complexity, as a particular mode of experience and also as a “method” or strategy to stimulate and sustain the creative state. James shows us that there are distinct features of “creative states” which are not exclusive to literary creativity. The diversity and innovativeness of human experience is a creative factor in itself, so that “everyday” little-c contributes to big-C. James’s thorough exploration of the creative process may be compared to more recent attempts in the sciences to understand creativity in cognition in general and literature in particular.

Gifted Classroom Environments and the Creative Process: A Systematic Review

2021 ◽  
pp. 016235322110014
Author(s):  
Lindsay Ellis Lee ◽  
Melanie S. Meyer ◽  
Kacey Crutchfield
Keyword(s):  
Systematic Review ◽  
Creative Process ◽  
Classroom Culture ◽  
Systematic Evaluation ◽  
Future Research ◽  
Critical Examination ◽  
Process Skills ◽  
Classroom Environments ◽  
Creative Processes ◽  
K 12

As the expectations for including creativity in K–12 education continually grow, creative process skills equip students with thinking strategies to generate and evaluate ideas. This systematic review explored existing research on elementary and secondary gifted classroom environments that promote creative process skills. A database search yielded peer-reviewed literature, empirical and practitioner-focused, for systematic evaluation. A critical examination of literature published from 2011 to 2019 identified characteristics of educational environments that foster creative processes and highlighted key themes, including integrating creative process skills, adaptive environments, reflective classroom culture, and challenges to implementation. Implications for classroom application and suggestions for future research are discussed.

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Leonardo ◽  
2021 ◽  
pp. 1-12
Author(s):  
Thanos Polymeneas-Liontiris ◽  
M. Eugenia Demeglio
Keyword(s):  
System Theory ◽  
Performance Practice ◽  
Creative Process ◽  
Experimental Music ◽  
Creative Processes ◽  
Art Based Research ◽  
Different Levels

Abstract This article presents a series of experimental music theatre performances that took place between 2015 and 2017. This art-based research investigates how qualities of the posthuman condition could manifest in experimental music theatre, by applying cybernetic and system theory principles at different levels (i.e. compositionally, aesthetically, dramaturgically) in the creative process. The aim of this article is to present these creative processes and to introduce this type of performance practice, namely cybernetic performance ecosystem.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

Perfect (im)Perfections–the choreographer’s reflections on the creative process

2015 ◽  
Vol 6 (1) ◽  
pp. 48-53
Author(s):  
Philip Channells
Keyword(s):  
Creative Process ◽  
Life Experience ◽  
Full Length ◽  
Personal History ◽  
Creative Processes ◽  
Cultural Boundaries ◽  
Diverse Backgrounds ◽  
Successes And Challenges

Abstract In 2014 Australian director/choreographer Philip Channells (Dance Integrated Australia) was commissioned by DansiT–Senter for Dansekunst i Sør-Trøndelag to collaborate with 20 members of the Danselaboratoriet and Danseteateret 55+ companies. The end result was a full-length intergenerational, disability-inclusive work that merged poetry, dance, theatre and music. Perfect (im)Perfections–stories untold was created with an international cast of artists with diverse backgrounds and life experience. The work premiered at the Multiplié Dansefestival in Trondheim on 3 April 2014. In his article, Channells shares his personal history and dance background before focusing on the collaboration. He discusses the inspiration behind the work, the creative processes and the successes and challenges in working across cultural boundaries.

Resilience

2019 ◽  
pp. 286-303 ◽  
Author(s):  
Rebecca Alexander ◽  
Justine Megan Gatt
Keyword(s):  
Well Being ◽  
Neural Systems ◽  
Dynamic Interactions ◽  
Control Networks ◽  
Effective Interventions ◽  
Adaptive Recovery ◽  
The Brain ◽  
Insight Into ◽  
Over Time

Resilience refers to the process of adaptive recovery following adversity or trauma. It is likely to include an intertwined series of dynamic interactions between neural, developmental, environmental, genetic, and epigenetic factors over time. Neuroscientific research suggests the potential role of the brain’s threat and reward systems, as well as executive control networks. Developmental research provides insight into how the environment may affect these neural systems across the lifespan towards greater risk or resilience to stress. Genetic work has revealed numerous targets that alter key neurochemical systems in the brain to influence mental health. Current challenges include ambiguities in the definition and measurement of resilience and a simplified focus on resilience as the absence of psychopathology, irrespective of levels of positive mental functioning. Greater emphasis on understanding the protective aspects of resilience and related well-being outcomes are important to delineate the unique neurobiological factors that underpin this process, so that effective interventions can be developed to assist vulnerable populations and resilience promotion.

The flower, the gene, the brain and the creative process

10.1038/10288 ◽  
1999 ◽  
Vol 22 (3) ◽  
pp. 229-230
Author(s):  
Ariel Ruiz i Altaba
Keyword(s):  
Creative Process ◽  
The Brain

Epilogue

2018 ◽  
Author(s):  
Barbara Rose Lange
Keyword(s):  
Creative Process ◽  
World Music ◽  
Far Right ◽  
The West ◽  
Creative Processes ◽  
Musical Production ◽  
Production And Distribution ◽  
World Economic ◽  
The Individual ◽  
World Economic Crisis

The Epilogue describes how economic and social shocks of the late 2000s, in particular the 2008 world economic crisis, affected local fusion musics in Central Europe. It discusses changes in artistic personhood, musical sociality, creative processes, and connections to the West European musical market; efficiency penetrated the creative process, and more aspects of the individual became monetized. The Epilogue describes how far-right nationalism and its musical expression strengthened in the late 2000s, and how others made musical interventions against these trends. It describes how musicians changed their relationships with large arts institutions, detailing how by the 2000s, intellectually oriented musicians established some connections to the Western European world-music industry and to new modes of musical production and distribution. It concludes that few artistic experiments could continue after socioeconomic shock.

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