Secrets of the Creative Brain
In a 1904 study by English physician Havelock Ellis, a list was made of 1030 individuals through extensive research, examining thoroughly the intellectual distinction people had by the various factors like heredity, general health, and social class.
These works established that genius minds are often hereditary.
SIMILAR ARTICLES & IDEAS:
Research suggests placing self-imposed limitations can boost creativity.
It forces your brain to come up with creative solutions to finish a project around the parameters you’ve set.
Instead of thinking of a cut-and-dry end goal to certain situations, creative people sit back and examine the problem in different ways before beginning to work.
If you find yourself stagnating by focusing on generic problems, try to re-conceptualize the problem by focusing on a more meaningful angle.
For example: Instead of thinking “What would be something cool to paint?” rather ask, “What sort of painting evokes the feeling of loneliness that we all encounter after a break-up?”
Creating “psychological” distance may be useful for breaking through a creative block.
Try to imagine your creative task as being disconnected and distant from your current position/location - this may make the problem more accessible and can encourage higher level thinking.
It means producing something novel or original, evaluating, solving problems, whether on paper, on stage, in a laboratory or even in the shower.
Geniuses know “how” to think, instead of “what” to think.
People who are more creative can simultaneously engage brain networks that don’t typically work together.
A team of neuroscientists believes there might be a meaningful link between creativity and seeing faces in clouds.
The scientific term for seeing familiar objects in random images, abstract things, or patterns is 'pareidolia.' Pareidolia has been reported in sounds too.
At first, pareidolia (seeing shapes in clouds and in other inanimate objects) was seen negatively rather than a sign of creativity. It was even considered to be a symptom of psychosis or dementia.
In 1895, French psychologist Alfred Binet - known for his work on IQ tests - suggested that inkblots could be used in psychological research to study differences in involuntary imagination. This idea was further developed, resulting in inkblots to investigate people's personality and assess their psychological state.
The creative aspect of pareidolia became known in the 19th century with the practice of 'klecksography' - the art of making images from inkblots.
Writer Victor Hugo experimented with folded papers and stains by holding his quill upside down to use the feather-end as a brush. Another practitioner of klecksography, German poet Justinus Andreas Christian Kerner, published Kleksographien (1890), a collection of inkblot art with accompanying short poems about the objects that can be noticed in the images.