The Nature of Creativity

There are many types of creativity, and it exists in almost all realms of human existence. There is a special kind of creativity that is associated with profound and abstract concepts, the kind possessed by the Albert Einsteins and Sir Isaac Newtons of the world. Creativity for such gifted individuals often begins with almost childlike and primal questions such as What is air and light Why is 

---

Volume 14 of the Pelican Freud Library contains Freud s major essays on Leonardo, Michelangelo and Dostoevsky, plus shorter pieces on Shakespeare, the nature of creativity and much more. 

Creativity was measured by students forming new ideas or hypotheses, testing and developing these hypotheses, and transmitting the data (Dass, 2004). A distinct relationship between creativity and scientific attitudes has not been clearly reported previously however, there are some PBL studies which reported the effectiveness in both creativity and scientific attitudes (Cho, Kim, Lee, 2011 Yoon Woo, 2009). The nature of creativity in science has some characteristics similar to creativity involved in scientific attitudes. In that sense, the effectiveness in creativity after PBL is consistent with the effectiveness in scientific attitudes. 

Langley, P. Jones, R. A computational model of scientific insight. In R. J. Sternberg, (Ed.), The nature of creativity. Contemporary psychological perspectives. Cambridge Cambridge University Press. 1988. 

Sternberg, Robert J., The Nature of Creativity, Cambridge University Press, Cambridge, UK, 1988. 

Like the artist, the chemist engraves into matter the products of creative imagination. The stone, the sounds, the words do not contain the works that the sculptor, the composer, the writer express from them [10.26]. Similarly, the chemist creates original molecules, new materials and novel properties from the elements provided by nature, indeed entire new worlds, that did not exist before they were shaped at the hands of the chemist, like matter is shaped by the hand of the artist, as so powerfully rendered by Auguste Rodin (see cover picture) [10.27]. 

This book is a broad and serious inquiry into this much-discussed topic. It will enlighten and surprise the uninitiated, as well as the frequent user. It includes first-hand reports of the nature of the experience recent scientific theories the use of psychedelics in primitive and non-western cultures and the sociology of drugs in our own society. There are also sections on the potential creative uses of psychedelics, from the enhancement of religious experience to the treatment of alcoholics and the design of mental hospitals. 

If the study is exploratory, it is not uncommon to have a multitude of creative ideas about the nature of the biomarker response and its relationship to the exposure. Ideally, some comparisons of particular interest are specified in advance. The analyses can then be divided into confirmatory and exploratory phases. Two key considerations in such exploratory studies are selection bias and confounding both were discussed in the section on the sam-... 

Since the organisation plays a crucial role in stimulating creativity and innovation it is important to understand the nature of organisations, especially their culture, before being able to understand why some are more receptive to creativity, innovation and hence change. 

The words creativity and innovation are often confused, or used interchangeably, so it is worthwhile spending a little time clarifying the nature of and differences between these two activities. 

Chemistry takes a unique position among the natural sciences for it deals not only with material from natural sources but creates the major parts of its objects by synthesis. In this respect, as stated many years ago by Marcelin Berthelot, chemistry resembles the arts the potential of creativity is terrifying. 

Baudelaire s ambivalence towards his work and the corresponding critical uncertainty regarding the nature of Un Mangeur d opium, together with its hybrid structure, make this text a highly problematic one. Compared to the far more straightforward Poe translations, Baudelaire s work on De Quincey s autobiography raises central questions about the relationship between creativity and translation, the ownership of discourse and the status of so-called derivative works in the corpus of a creative, canonical writer. 

In addition, Baudelaire s frequent comments on the untranslatable dimension of some works of art noted earlier in this chapter, and his choice of creative transposition as a result of the untranslatability, are full of implications for translation theory. Translation is a relative, rather than absolute reality, which needs to be looked at in its historical, cultural and ideological context. As importantly, the nature of the source text, and its aesthetics mechanisms need to be taken into account - with Baudelaire, we are reminded of the subjectivity of the aesthetic experience. A consequence of such subjectivity may be that the aim of translation is not so much to transfer the work of art into another language, than to express the emotions and the subjective nature of the artistic experience. 

---