By H.E. Gruber, Katja Bödeker
Creativity, Psychology, and the background of technology offers for the 1st time a accomplished evaluation of the oeuvre of Howard E. Gruber, who's famous for his contributions either to the psychology of creativity and to the background of technology.
The current e-book contains papers from quite a lot of subject matters. within the contributions to creativity learn, Gruber proposes his key principles for learning artistic paintings. Gruber specializes in how the pondering, motivation and impact of terribly inventive members evolve and the way they have interaction over lengthy classes of time. Gruber’s strategy bridges many disciplines and subdisciplines in psychology and past, numerous of that are represented within the current quantity: cognitive psychology, developmental psychology, historical past of technological know-how, aesthetics, and politics. the amount therefore offers a different and finished contribution to our figuring out of the inventive method. a lot of Gruber's papers haven't formerly been simply obtainable; they're offered right here in completely revised shape.
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Additional info for Creativity, Psychology and the History of Science
The widely differing subjects’ reactions were irritating. But I became interested in such phenomena, even studying the Rorschach test to equip myself to examine the relationship between personality characteristics and individual differences in cognitive processes. During my doctoral research, however, I dropped this theme; it emerged in a new form in my case study on Darwin. The case study takes the individual as unique. This very uniqueness cannot be fully grasped psychometrically or experimentally.
The arrangement of this book is inspired by this network of enterprise idea. The book is divided into eight sections, each including articles representing one of the enterprises I pursued throughout my working life. I hope that this arrangement permits us to see one network of enterprise as a whole, while preserving the elements that compose it. This kind of arrangement implies that the book has no preset direction of study. The reader is not expected to proceed straight from cover to cover, but should cut her own path through the book and feel free to begin where her ﬁeld of interest lies.
But the actual position taken is even stronger: Everything important should be measured. In the Gestalt approach, measurement hardly appears. The key concern is to understand the structure of the situation that the subject confronts, and to understand how the creator transforms the situation by a series of moves analogous to perceptual phenomena, as mentioned above. ” The latter are concerned with structures exhibited in varying situations, as though they were carried from one to another in the mind of the thinking subject, thus providing trans-situational norms.
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