THE AMBIVALENCE IN CREATIVE PRODUCTION OF ART STUDENTS
DOI:
https://doi.org/10.19090/pp.2020.1.119-138Keywords:
arousal, contrast, creativity, emotional experience, valenceAbstract
Contemporary authors deepen the insights about the creative process by analyzing the homospatial thinking, based on juxtaposition of remote associative elements which are opposed in development of new ideas. The question is whether the juxtaposition is based solely on semiotic heterogeneity, or the (in)congruence of emotional experience can have significant effects on the creative production. The aim of this study was to examine a difference between content that cause congruent and incongruent emotional experiences in terms of their effects on creative production. The degree of congruence in emotional experience was controlled by the dimensions of valence and arousal. After preliminary study, drama art students have participated in the experiment. Visual stimuli were selected from IAPS (Interactive Affective Picture System): 56 superimposed images were generated by crossing 32 selected photos. The values of valence and arousal were systematically varied, and the sample was consisted of photos which were extreme, moderate and absent in contrast (on the dimensions of valence and arousal), including neutral images with balanced and moderated values of both dimensions. Subjects were randomly exposed to stimuli, and they were asked to generate the creative title for each image. The creativity was measured by the coefficients based on titles originality and intentionallity. The analysis confirmed a significant effect of contrast in valence dimension, but not arousal as well. The contrast in valence dimension positively correlates with creativity, and can be its predictor. The results broaden the insights on the homospatial thinking and can be explained partially by the psychodynamic concept of reparation, showing that ambivalence has significant role in generative processes.
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References
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Dacey, J. (1999). Concepts of Creativity: A History. In M.A. Runco & S. A. Pritzker (Eds.), Encyclopedia of creativity (pp. 815–822). Academic Press.
Davis, M. (2009). Understanding the relationship between mood and creativity: A meta-analysis. Organizational Behavior and Human Decision Processes, 108 (1), 25–38. https://doi.org/10.1016/j.obhdp.2008.04.001
Diedrich, J., Benedek, M., Jauk, E., & Neubauer, A. (2015). Are creative ideas novel and useful?.Psychology Of Aesthetics, Creativity, And The Arts, 9(1), 35–40. https://doi.org/10.1037/a0038688
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Ford, M. E. (1992). Motivating humans: Goals, emotions, and personal agency beliefs. Sage Publications.
Freud, S. (1908). Creative writers and day-dreaming. PsycEXTRA Dataset. https://doi.org/ 10.1037/e417472005-225
George, J. M., & Zhou, J. (2002). Understanding when bad moods foster creativity and good ones don’t: The role of context and clarity of feelings. Journal of Applied Psychology, 87, 687–697. https://doi.org/10.1037/0021-9010.87.4.687
Hirt, E. R., McDonald, H. E., & Melton, R. J. (1996). Processing goals and the affect-performance link: Mood as main effect or mood as input? In L. L. Martin & A. Tesser (Eds.), Striving and feeling: Interactions among goals, affect, and self regulation (pp. 303–328). Lawrence Erlbaum Associates, Inc. https://doi.org/10.1037/0022-3514.71.2.245
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Janković, D. R. (2015). Razvoj estetske preferencije slika. Nepublikovana doktorska disertacija, Univerzitet u Beogradu, Filozofski fakultet.
Jovanović, V. Matić, I. Milošević, M. i Ristić, I. (2015). “Pic Rotator 1.0” [Computer software]. Fakultet dramskih umetnosti.
Kaufmann, G., & Vosburg, S. (2002). The Effects of Mood on Early and Late Idea Production. Creativity Research Journal, 14 (3–4), 317–330.
Kim, E., Zeppenfeld, V., & Cohen, D. (2013). Sublimation, Culture, and Creativity. Journal of Personality and Social Psychology, 105 (4), 639–666, https://doi.org/ 10.1037/a0033487639
Klein, M. (1935). A contribution to the psychogenesis of manic-depressive states. International Journal of Psycho-Analysis, 16, 145–174; reprinted 1975 in The Writings of Melanie Klein.Vol. 1. Hogarth.
Klein, M., & Riviere, J. (1964). Love, hate and reparation. W.W. Norton & Company Inc.
Koestler, A. (1964). The act of creation. Macmillan.
Kris, E. (1952). Psychoanalytic exploration in art. International Universities Press.
Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (2008). International Affective Picture System (IAPS): Affective ratings of pictures and instruction manual. Technical Report A-8. University of Florida.
Lubart, T. I., & Getz, I. (1997). Emotion, metaphor, and the creative process. Creativity Research Journal, 10, 285–301. https://doi.org/10.1207/s15326934crj1004_1
Martin, L. L., & Stoner, P. (1996). Mood as input: What we think about how we feel determines how we think. In L. L. Martin & A. Tesser (Eds.), Striving and feeling: Interactions among goals, affect, and self-regulation (pp. 279–301). Erlbaum.
Martindale, C. (2005). Biological biases of creativity. In R. J. Sternberg (Ed.), Handbook of creativity. Cambridge University Press. https://doi.org/10.1017/cbo9780511807916.009
Martindale, C., & Hasenfus, N. (1978). EEG differences as a function of creativity, stage of the creative process, and effort to be original. Biological Psychology, 6(3), 157–167. https://doi.org/10.1016/0301-0511(78)90018-2
Mauss, I. B., & Robinson, M. D. (2009). Measures of emotion: A review. Cognition and Emotion, 23, 209–237. https://doi.org/10.1080/02699930802204677
Mednick, S. A. (1962). The associative basis of the creative process. Psychological Review, 69, 220–232. https://doi.org/10.1037/h0048850
Milošević, M., & Ristić, I. (2016). Nov metodološki pristup studijama kreativnosti. In Medias Res. International Scientific Journal for the Philosophy of Media, 5(8). 1237–1250.
Milošević, M., & Ristić, I. (2019). Construction and validation of the Creativity Coefficient. In J. L. Cuadra (Ed.), Understanding creativity. Past, present and future perspective (pp. 31–60). Nova Science Publishers.
Ognjenović, P. (1997). Psihološka teorija umetnosti. Institut za psihologiju.
Posner J., Russell J. A., & Peterson B. S. (2005). The circumplex model of affect: An integrative approach to affective neuroscience, cognitive development, and psychopathology. Development and Psychopathology, 17, 715–734. https://doi.org/ 10.1017/S0954579405050340
Ristić, I. & Milošević, M. (2017b). Neugodni i novi sadržaji u funciji kreativnosti: Po čemu se studenti umjetnosti razlikuju od ostalih? Suvremena psihologija, 20(2), 117–136. https://doi.org/10.21465/2017-SP-202-01
Ristić, I. i Milošević, M. (2017a). Povezanost kreativne produkcije i emocionalnog doživljaja: Postajemo li kreativniji kada posamtramo neprijatne slike? Primenjena psihologija, 10(3), 335–353. https://doi.org/10.19090/pp.2017.3.335-353
Ristić, I. i Milošević, M. (2018). Validacija koeficijenta izuzetnosti u proceni likovnih produkata. Primenjena psihologija, 11(2), 227–246. https://doi.org/ 10.19090/pp.2018.2.227-246.
Ristic, I., & Milosevic, M. (2017, October). Creativity and contradictions: How ambivalent images affect the creative production? Paper presented at STuP - Current Trends in Psychology. Novi Sad, Serbia.
Rotenberg, A. (2010). Kreativnost i ludilo. Clio.
Rothenberg, A. (1986). Artistic creation as stimulated by superimposed versus combined-composite visual images. Journal of Personality and Social Psychology, 50, 370–381. https://doi.org/10.1037/0022-3514.50.2.370
Rothenberg, A. (1999). Homospatial process. In M. Runco & S. Pritzer (Eds.), Encyclopedia of creativity Vol. 1 (pp. 831–835). Academic Press.
Russ, S. (1993). Affect and creativity: The role of affect and play in the creative process. Lawrence Erlbaum Associates, Inc. https://doi.org/10.4324/9780203772621
Russ, S. W. (1998). Affect, creative experience, and psychological adjustment. Routledge.
Schneider, I. K., Veenstra, L., van Harreveld, F., Schwarz, N., & Koole, S. L. (2016). Let’s not be indifferent about neutrality: Neutral ratings in the International Affective Picture System (IAPS) mask mixed affective responses. Emotion, 16(4), 426–430. https://doi.org/10.1037/emo0000164
Shapiro, P. J., & Weisberg, R. W. (1999). Creativity and bipolar diathesis: Common behavioral and cognitive components. Cognition and Emotion, 13, 741–762. https://doi.org/10.1080/026999399379069
Viinikainen, M., Kätsyri, J., & Sams, M. (2011). Representation of perceived sound valence in the human brain. Human Brain Mapping, 33, 2295–2305. https://doi.org/10.1002/hbm.21362
Vosburg, S. K. (1998a). The effects of positive and negative mood on divergent thinking performance. Creativity Research Journal, 11, 165–172. https://doi.org/10.1207/s15326934crj1102_6
Vosburg, S. K. (1998b). Mood and the quantity and quality of ideas. Creativity Research Journal, 11, 315–324. https://doi.org/10.1207/s15326934crj1104_5
Vosburg, S., & Kaufmann, G. (1998). Mood and creativity research: The view from a conceptual organizing perspective. In S. Russ (Ed.), Affect, creative experience, and psychological adjustment (pp. 19–39). Brunner/Mazel. https://doi.org/10.4324/9781315784557
Ward, T. B., Smith, S. M., & Finke, R. A. (2005). Creative cognition. In R. J. Sternberg (Ed.), Handbook of creativity (pp. 189–212). Cambridge University Press. https://doi.org/10.1017/cbo9780511807916.012
Weisberg, R. W. (2015). On the Usefulness of “Value” in the Definition of Creativity. Creativity Research Journal, 27(2), 111–124. https://doi.org/10.1080/10400419.2015.1030320
Wisniewski, E. J. (1996). Construal and similarity in conceptual combination. Journal of Memory and Language, 35, 434–453. https://doi.org/10.1006/jmla.1996.0024
Benjafield, J. G. (1996). Cognition. Prentice Hall. https://doi.org/ 10.1002/(SICI)1099-0720(199710)11:5<457::AID-ACP488>3.0.CO;2-1
Bergler, E. (1945). On a five-layer structure in sublimation. The Psychoanalytic Quaterly, 14, 76–97. https://doi.org/10.1080/21674086.1945.11925593
Cacioppo, J. T., Berntson, G. G., Larsen, J. T., Poehlmann, K. M., & Ito, T. A. (2000). The psychophysiology of emotion. In R. Lewis & J. M. Haviland-Jones (Eds.), The handbook of emotion, 2nd Edition (pp. 173–191). Guilford Press.
Dacey, J. (1999). Concepts of Creativity: A History. In M.A. Runco & S. A. Pritzker (Eds.), Encyclopedia of creativity (pp. 815–822). Academic Press.
Davis, M. (2009). Understanding the relationship between mood and creativity: A meta-analysis. Organizational Behavior and Human Decision Processes, 108 (1), 25–38. https://doi.org/10.1016/j.obhdp.2008.04.001
Diedrich, J., Benedek, M., Jauk, E., & Neubauer, A. (2015). Are creative ideas novel and useful?.Psychology Of Aesthetics, Creativity, And The Arts, 9(1), 35–40. https://doi.org/10.1037/a0038688
Domino, G., Short, J., Evans, A., & Romano, P. (2002). Creativity and ego defense mechanisms: Some exploratory empirical evidence. Creativity Research Journal, 14, 17–25. https://doi.org/10.1207/S15326934CRJ1401_2
Feist, G. (1998). Affect in artistic and scientific creativity. In S. Russ (Ed.), Affect, creative experience, and psychological adjustment (pp. 93–108). Brunner/Mazel. https://doi.org/10.4324/9781315784557
Ford, M. E. (1992). Motivating humans: Goals, emotions, and personal agency beliefs. Sage Publications.
Freud, S. (1908). Creative writers and day-dreaming. PsycEXTRA Dataset. https://doi.org/ 10.1037/e417472005-225
George, J. M., & Zhou, J. (2002). Understanding when bad moods foster creativity and good ones don’t: The role of context and clarity of feelings. Journal of Applied Psychology, 87, 687–697. https://doi.org/10.1037/0021-9010.87.4.687
Hirt, E. R., McDonald, H. E., & Melton, R. J. (1996). Processing goals and the affect-performance link: Mood as main effect or mood as input? In L. L. Martin & A. Tesser (Eds.), Striving and feeling: Interactions among goals, affect, and self regulation (pp. 303–328). Lawrence Erlbaum Associates, Inc. https://doi.org/10.1037/0022-3514.71.2.245
Hoffmann, J. D. (2013). Emotions and creativity. In C. Mohiyeddini, M. Eysenck, & S. Bauer (Eds.), Psychology of emotions, motivations and actions. Handbook of psychology of emotions (Vol. 1): Recent theoretical perspectives and novel empirical findings (pp. 377–405). Nova Science Publishers.
Isen, A. (1998). On the relationships between affect and creative problem solving. In S. Russ (Ed.), Affect, creative experience, and psychological adjustments (pp. 3–17). Brunner/ Mazel. https://doi.org/10.4324/9781315784557
Jamison, K. R. (1993). Touched with fire: Manic depressive illness and the artistic temperament. Free Press. https://doi.org/10.4135/9781483349985.n388
Janković, D. R. (2015). Razvoj estetske preferencije slika. Nepublikovana doktorska disertacija, Univerzitet u Beogradu, Filozofski fakultet.
Jovanović, V. Matić, I. Milošević, M. i Ristić, I. (2015). “Pic Rotator 1.0” [Computer software]. Fakultet dramskih umetnosti.
Kaufmann, G., & Vosburg, S. (2002). The Effects of Mood on Early and Late Idea Production. Creativity Research Journal, 14 (3–4), 317–330.
Kim, E., Zeppenfeld, V., & Cohen, D. (2013). Sublimation, Culture, and Creativity. Journal of Personality and Social Psychology, 105 (4), 639–666, https://doi.org/ 10.1037/a0033487639
Klein, M. (1935). A contribution to the psychogenesis of manic-depressive states. International Journal of Psycho-Analysis, 16, 145–174; reprinted 1975 in The Writings of Melanie Klein.Vol. 1. Hogarth.
Klein, M., & Riviere, J. (1964). Love, hate and reparation. W.W. Norton & Company Inc.
Koestler, A. (1964). The act of creation. Macmillan.
Kris, E. (1952). Psychoanalytic exploration in art. International Universities Press.
Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (2008). International Affective Picture System (IAPS): Affective ratings of pictures and instruction manual. Technical Report A-8. University of Florida.
Lubart, T. I., & Getz, I. (1997). Emotion, metaphor, and the creative process. Creativity Research Journal, 10, 285–301. https://doi.org/10.1207/s15326934crj1004_1
Martin, L. L., & Stoner, P. (1996). Mood as input: What we think about how we feel determines how we think. In L. L. Martin & A. Tesser (Eds.), Striving and feeling: Interactions among goals, affect, and self-regulation (pp. 279–301). Erlbaum.
Martindale, C. (2005). Biological biases of creativity. In R. J. Sternberg (Ed.), Handbook of creativity. Cambridge University Press. https://doi.org/10.1017/cbo9780511807916.009
Martindale, C., & Hasenfus, N. (1978). EEG differences as a function of creativity, stage of the creative process, and effort to be original. Biological Psychology, 6(3), 157–167. https://doi.org/10.1016/0301-0511(78)90018-2
Mauss, I. B., & Robinson, M. D. (2009). Measures of emotion: A review. Cognition and Emotion, 23, 209–237. https://doi.org/10.1080/02699930802204677
Mednick, S. A. (1962). The associative basis of the creative process. Psychological Review, 69, 220–232. https://doi.org/10.1037/h0048850
Milošević, M., & Ristić, I. (2016). Nov metodološki pristup studijama kreativnosti. In Medias Res. International Scientific Journal for the Philosophy of Media, 5(8). 1237–1250.
Milošević, M., & Ristić, I. (2019). Construction and validation of the Creativity Coefficient. In J. L. Cuadra (Ed.), Understanding creativity. Past, present and future perspective (pp. 31–60). Nova Science Publishers.
Ognjenović, P. (1997). Psihološka teorija umetnosti. Institut za psihologiju.
Posner J., Russell J. A., & Peterson B. S. (2005). The circumplex model of affect: An integrative approach to affective neuroscience, cognitive development, and psychopathology. Development and Psychopathology, 17, 715–734. https://doi.org/ 10.1017/S0954579405050340
Ristić, I. & Milošević, M. (2017b). Neugodni i novi sadržaji u funciji kreativnosti: Po čemu se studenti umjetnosti razlikuju od ostalih? Suvremena psihologija, 20(2), 117–136. https://doi.org/10.21465/2017-SP-202-01
Ristić, I. i Milošević, M. (2017a). Povezanost kreativne produkcije i emocionalnog doživljaja: Postajemo li kreativniji kada posamtramo neprijatne slike? Primenjena psihologija, 10(3), 335–353. https://doi.org/10.19090/pp.2017.3.335-353
Ristić, I. i Milošević, M. (2018). Validacija koeficijenta izuzetnosti u proceni likovnih produkata. Primenjena psihologija, 11(2), 227–246. https://doi.org/ 10.19090/pp.2018.2.227-246.
Ristic, I., & Milosevic, M. (2017, October). Creativity and contradictions: How ambivalent images affect the creative production? Paper presented at STuP - Current Trends in Psychology. Novi Sad, Serbia.
Rotenberg, A. (2010). Kreativnost i ludilo. Clio.
Rothenberg, A. (1986). Artistic creation as stimulated by superimposed versus combined-composite visual images. Journal of Personality and Social Psychology, 50, 370–381. https://doi.org/10.1037/0022-3514.50.2.370
Rothenberg, A. (1999). Homospatial process. In M. Runco & S. Pritzer (Eds.), Encyclopedia of creativity Vol. 1 (pp. 831–835). Academic Press.
Russ, S. (1993). Affect and creativity: The role of affect and play in the creative process. Lawrence Erlbaum Associates, Inc. https://doi.org/10.4324/9780203772621
Russ, S. W. (1998). Affect, creative experience, and psychological adjustment. Routledge.
Schneider, I. K., Veenstra, L., van Harreveld, F., Schwarz, N., & Koole, S. L. (2016). Let’s not be indifferent about neutrality: Neutral ratings in the International Affective Picture System (IAPS) mask mixed affective responses. Emotion, 16(4), 426–430. https://doi.org/10.1037/emo0000164
Shapiro, P. J., & Weisberg, R. W. (1999). Creativity and bipolar diathesis: Common behavioral and cognitive components. Cognition and Emotion, 13, 741–762. https://doi.org/10.1080/026999399379069
Viinikainen, M., Kätsyri, J., & Sams, M. (2011). Representation of perceived sound valence in the human brain. Human Brain Mapping, 33, 2295–2305. https://doi.org/10.1002/hbm.21362
Vosburg, S. K. (1998a). The effects of positive and negative mood on divergent thinking performance. Creativity Research Journal, 11, 165–172. https://doi.org/10.1207/s15326934crj1102_6
Vosburg, S. K. (1998b). Mood and the quantity and quality of ideas. Creativity Research Journal, 11, 315–324. https://doi.org/10.1207/s15326934crj1104_5
Vosburg, S., & Kaufmann, G. (1998). Mood and creativity research: The view from a conceptual organizing perspective. In S. Russ (Ed.), Affect, creative experience, and psychological adjustment (pp. 19–39). Brunner/Mazel. https://doi.org/10.4324/9781315784557
Ward, T. B., Smith, S. M., & Finke, R. A. (2005). Creative cognition. In R. J. Sternberg (Ed.), Handbook of creativity (pp. 189–212). Cambridge University Press. https://doi.org/10.1017/cbo9780511807916.012
Weisberg, R. W. (2015). On the Usefulness of “Value” in the Definition of Creativity. Creativity Research Journal, 27(2), 111–124. https://doi.org/10.1080/10400419.2015.1030320
Wisniewski, E. J. (1996). Construal and similarity in conceptual combination. Journal of Memory and Language, 35, 434–453. https://doi.org/10.1006/jmla.1996.0024
