Ronald A. Finke's research while affiliated with Mass College of Liberal Arts and other places
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Publications (21)
In this chapter we highlight the generativity of ordinary human cognition, elaborate on the creative cognition approach, and give representative examples of research that further the goals of creative cognition. We conclude with some observations about how creative cognition can help to resolve some long-lasting controversies concerning creativity....
Recent advances in the field of creative cognition have helped to reveal the cognitive structures and processes that are involved in creative thinking and imagination. This article begins by reviewing recent studies of creative imagery that have explored the emergent properties of mental images. The geneplore model of creative cognition, which desc...
Creative Cognition combines original experiments with existing work in cognitive psychology to provide the first explicit account of the cognitive processes and structures that contribute to creative thinking and discovery.
Creative Cognition combines original experiments with existing work in cognitive psychology to provide the first explicit acco...
New ideas, whether wondrously creative or merely unusual, are almost always constructed from the building blocks of prior knowledge. Truly creative ideas arise when we wisely preserve and extend what is worthwhile from existing knowledge, and reject only the ideas that constrain our thinking. The old knowledge roots our new ideas in what has worked...
We have seen that people often rely heavily on old ideas when they formulate new ones. In this chapter we will examine how existing knowledge influences the artifacts that humans produce. We will see that innovation is basically a conservative process, but also one that allows a flowering of useful new ideas.
Those first creative ancestors who picked up sharp rocks and contemplated their usefulness also might have pondered that soft round light that appeared periodically in the night sky. They certainly would not have realized that the source of the light was the sun’s rays reflecting off the celestial satellite that we call the moon. Nor could they eve...
We have considered how people can use their concepts to formulate creative ideas. Now we examine how mental imagery can enhance creativity. We will also examine how imagery techniques can sometimes help us avoid the influence of conventional concepts when generating a new idea.
The Dallas Cowboys have just intercepted a pass in New York Giant territory. Coverage of the game is about to yield to a commercial break. Time to pull away from the television, and go forage in the refrigerator. But wait. What’s this? In a bizarre twist on reality it’s a television advertisement about people watching television. A group of attract...
In the shimmering heat along the Olduvai lakeside in ancient Africa, an anonymous ancestor picks up a sharp rock. He runs his fingers across its jagged edge and wonders if it will scrape meat from the bones that lie at his feet. Nearly two million years later, Deana Ward, age four, handles a very different rock—one that humans have brought back fro...
Late one evening in April of 1983, Kary Mullis drove through winding hills to his ranch in northern California. Mullis was a biochemist employed by the Cetus Corporation to synthesize chemicals used in genetic cloning. The road wove to and fro through the hills, and the fragrance of wildflowers wafted in his window as Mullis toyed with notions in h...
Jim Crocker was an engineer with a problem that was truly far out—in space. The Hubble telescope, the shining hope of astronomers, just wasn’t shining properly, having been outfitted and set into orbit with a flawed primary mirror. At a meeting arranged by NASA, Crocker and his team of engineers floated plan after plan for adjusting the optics on t...
The principles of creative cognition clearly come into play when inventors, writers, artists, and scientists perform their creative magic. We can also put the same principles to work in everyday life, even if we hold other kinds of jobs, or labor at home to keep a household running smoothly. Many day-to-day situations clamor for imaginative solutio...
Stephen Donaldson, the noted science fiction and fantasy author, had a vexing problem, the sort of problem that most writers dread. He had an idea that he wanted to write about, but could not find a suitable way to convey it. He wanted to probe the abstract concept of “unbelief,” an unwillingness to accept the possibility that fantasy worlds might...
This chapter outlines a general, cognitive approach to the study of creative thinking and discovery. Both methodological and evaluative issues are considered. The idea that imposing constraints can help to study creative thinking might seem paradoxical, in that when a person is no longer free to respond in particular ways, the person might be less...
The contributing authors to this book have addressed, and in many cases clarified or resolved, some of the major issues and controversies that have surrounded the subject of creativity. In doing so, they dem-onstrate the value of the creative cognition approach (Finke, Ward, and Smith 1992), showing that creativity can be better understood if it is...
Creativity depends on how people think. Obviously, it depends on many other factors as well, such as the environment, one's culture, and individual abilities (e.g., Sternberg 1988). Nonetheless, mental processes are, in our view, the essence and the engine of creative endeavors. Although there are many useful and productive ap-proaches to understan...
Citations
... The Creative Problem-Solving Model posits that eight processes -problem definition, information gathering, concept selection, conceptual combination, idea generation, idea evaluation, implementation planning, and monitoring -are involved in creative ideation (Mumford, Mobley, Uhlman, Reiter-Palmon, & Doares, 1991). Other popular creative process models involve only two components, such as Finke, Ward, and Smith (1992) geneplore model, which emphasizes the generative and exploratory phases creativity, and Simonton's (2011) blind variation and selective retention model. ...
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... Therefore, variating the experiences and interests could be intuitional references for an unconscious phase. Ward, Finke, and Smith, (1995) conceptualize intuition and insight as two distinct phases in the process of problem-solving, i.e., "an initial, intuitive phase, which involves a graded process of activating responses that are stimulated by, and increasingly appropriate to, the available pattern of clues, and an insight phase, which involves a conscious recognition, often quite sudden, that a particular response constitutes a potential solution to the problem. " Another component of creativity is anarchy, which is associated with breaking the rules, independence, straying from the normal path, and demolishing self-imposed boundaries. ...
... The individual and situational conditions that affect creativity-the ability to produce products that are original and useful (Amabile, 1983;Runco & Jaeger, 2012)-have been studied by researchers for decades. They have looked not only for cognitive (Finke et al., 1992) or personality-related (Batey & Furnham, 2006;Feist, 1998) individual differences in creativity but also for those related to ideology (Dollinger, 2007). Here, we examine the relationship between creativity and conservatism, the latter being understood as a psychological construct depicting attitudes toward socially relevant issues represented by traditionalism and conformity (Crowson, 2009). ...
... Certainly, the metacognitive strategies in generative and exploratory phases of the creative process (Finke et al., 1992), related to elaboration and hierarchical organisation and structuring of ideas, solving problems, and finding solutions ( Bogunović & Popović Mlađenović, 2014), as well as the 'quality of the creative outcomes will be influenced by the extent of the person's knowledge and how the elements of that knowledge are accessed and combined' ( Bogunović, 2019, p. 100). ...
... However, it must be noted that similarities between different models exist. For instance, Finke et al. (1992) developed the Geneplore model of creativity which was more intended as a descriptive model rather than an explanatory theory of creativity. The term Geneplore combines the terms generate and explore. ...
Reference: Creative Cognition
... Therefore, women were excluded (and by extension from any related fiction). Even if female (or minority) characters were included, they were relegated to limited supporting roles, playing mothers and caretakers to the heroic and adventurous male characters, witches and enchantresses, or quite often dangerously erotic femmes fatales and goddesses worshipped for their beauty and sexuality (Reid, 2009). The relationship of these women to one another was also often marked by jealousy. ...
... Just a few years ago, in the middle of the debate, the same Blanchard, in an interview to the IMF Survey Magazine (Blanchard, 2015), seemed to have opened the door to some theories and concepts which have long been advocated by post-Keynesian authors As a result of the crisis, a hundred intellectual flowers are blooming. Some are very old flowers: Hyman Minsky's financial instability hypothesis. ...
... This knowledge is usually not tied to specific types of problems. This type of knowledge is sometimes also called conceptual understanding or knowledge of principle [8]. ...
... The model is based on design prototypes, that is, on the selection of specific properties in existing satisfactory designs, from four creative tools: combination, mutation, analogy, and design using first principles. From the same perspective, the Geneplore model (Finke, Ward, and Smith 1992;Finke 1993) proposes a model contrary to the principle of "form follows function." These authors argue that, in the form-giving phase, exploring forms before configuring a final form responding to the functions can give rise to the so-called preinventive forms, which have qualities that stimulate creativity, such as novelty, ambiguity, and generation of unexpected properties. ...
... These component abilities cooperate to support the generation of appropriate, original ideas (i.e., divergent thinking), or accurate, original solutions (i.e., convergent thinking; Plucker & Beghetto, 2004;Rhodes, 1961;Said-Metwaly et al., 2017;Simonton, 2000). However, the abilities that are integral to creative thinking are also necessary for cognitive processing more generally (Smith et al., 1995;Ward et al., 1999). For example, when shopping at the market, one often uses general cognitive abilities to mentally represent a variety of distinct information. ...
