Critical Evaluation - Finke Imagery, Creativity, and Emergent Structure - Literature review Example

?Critical Evaluation: Finke, R. Imagery, Creativity, and Emergent Structure Main Arguments and evidence The study establishes that current developments in creative cognition have revealed the cognitive processes which are a necessary part of creative thinking and imagery. The study by Finke (1996) sought to review studies of creative imagery which have considered the recent emerging qualities of mental images. The creative cognition approach considers the methods of cognitive science to the study of creative thinking. It also establishes a framework for developing future studies on creativity (Finke, 1996). The discovery of emergent patterns is based on the combination of images and the extraction of meaning from such images. In general, a person may not be aware of the existence of such images, but with the combination and the visualization of such images, patterns will usually be detected by a person. The geneplore model describes various aspects of creative thinking and imagination, including the establishment of emergent structures and functions (Finke, 1996). The generative processes are utilized in the mental imagery of preinventive structures which help visualize object forms. These processes include memory retrieval, association, mental synthesis, mental transformation, analogical transfer, and categorical reduction (Finke, 1996). General distinctions can be established between strategies for establishing preinventive forms and the natural generation of the different forms. In dreams, preinventive forms are usually not planned. Experiments usually establish preinventive forms in a controlled style. Advantages are seen with these preinventive forms as they improve creativity and incongruity. It is therefore important to include these qualities in order to promote forms (Finke, 1996). In order the generate forms, the magic box technique can be applied. This technique seeks to visualize a closed box then imagining opening such box to see a form of the object inside the box. It is also important to avoid planning in advance and to simply allow for the discovery of the object in the box (Finke, 1996). Exploratory processes in experiments on creative cognition are usually intentional. When subjects are asked to consider preinventive forms, they often assess the forms and consider various interpretations; however various elements of creative assessment may also be seen at levels of processing which lie subconsciously (Finke, 1996). Evaluations on intuitive judgment have established that individuals can sometimes detect directions of exploration in problem solving, even if they may not be aware of the reasons for these choices. Not establishing too much control over exploratory processes can encourage the natural emergence of relevant solutions. Studies on structured imagination have established the extent to which typical features of common objects are incorporated into new images; and these tendencies usually occur as part of a person’s subconscious (Finke, 1996). Creative imagination is also impacted by previous knowledge and this structuring may not usually happen deliberately, but subconsciously. In comparison to structuring tendencies, creative thinking also manifests spontaneous qualities. This is best seen in chaotic thinking. Chaotic thinkers usually see the world as an unpredictable place full of complicated relationships. As a result, they often deal better with crises and unexpected occurrences; and they usually show an ability to improvise (Finke, 1996). Creative realism is also creative thinking which makes contact with issues and problems which are equal to realistic and creative thinking. Creative realism manifests two qualities: structural connectedness and imaginative divergence. Structural connectedness is about structuring new ideas based on previous ideas; and imaginative divergence refers to the tendency to be involved in a new idea and to explore its implications. It is also not governed by conscious strategies. Both of these are important to creative realism and can be incorporated into the geneplore model (Finke, 1996). To improve creative realism, structural connectedness can be maintained within the generative stage of creative thinking. In summary, cognitive processing which support creative thinking and imagination include conscious control. Creativity is not entirely controlled and structured (Finke, 1996). It is also not planned, and creative thoughts can flow from intentional and intuitive activities of the human mind. Strengths and weaknesses The study presents logical ideas about creative imagery and creativity, as well as emergent structures. It specifies ideas on imagery and on how ideas and new images can emerge from a person’s mind. This study also specified the importance of mental imagery in perceptual experiences. This was also emphasized in the study of Thomas (1999) where the authors emphasized that mental imagery is based on experience which is related to a perceptual experience, one which occurs even without external stimuli. This study by Finke also emphasizes on the visual and sensory experience for a person which assists in the establishment of imagery and visual representations. In relation to this, Baars (1996) speaks of experience which is borne out of consciousness of one’s surroundings – a consciousness which is significantly linked to sensory experiences and the cognitive awareness which people usually need in order to develop sensory cognition and imagery. This study however does not discuss a related concept of quasi-perceptual experiences which is also part of the cognitive perceptions for people. Quasi-perceptual experiences include potential contents of consciousness which may sometimes occur also on the subconscious level. In effect, imagery may consciously or unconsciously occur even when people deny its experience or existence (Thomas, 1999). The Finke study specifically mentions both the unconscious and conscious processes which contribute to creative imagery and emergent mental images, however, it does not mention the behavioral processes of culture, traditions, and genetic predispositions and how these elements impact on emergent images and creative imageries (Beaney, 2005). The Finke study mentions how emergent images are created and there is a strong logical basis to the ideas mentioned in the study. The process of emergent images and structures are indeed influenced by how a person conceptualizes instinctually the various images and predispositions which are already in his mind. Schwartz and Heiser (2004) also discuss that one of the most important elements of perception is that most people easily see what they have learned, and they usually ignore the things which they have not learned. In effect, there is a selective process which often goes on in a person’s mind, especially on matters which have not fully been incorporated in a person’s subconscious and deeper aspects of learning. Finke’s study however fails to note how people often choose to perceive what they want out of a situation. Finke’s discussion fails to conceive the deeper implications of emergent perceptions, and the fact that how these images and perceptions emerge may work to the exception and discrimination of other perceptions which may also be equally important in the larger scheme of things (Heiser, 2004). This study also does not consider practical applications of emergent structures in the teacher and learner setting. The ability of learners to often perceive only what they want to perceive is a relevant aspect of learning. Educators usually establish explanations for aspects of learning which their students fail to perceive, and in the process, these learners often end up being excused for their lopsided perception of learning (Glenberg, et.al., 2004). The role of the teacher is to consider these ignored perceptions and point them out to the learner, to consider these teachings as vital to the learning process. In the actual application of learning, if the process of learning is not well-rounded, the application of these learning points for the student would be lacking and would mean incompetence in their skills. Carruthers (2007) discusses about creative action without creative thought and mentions that skilled action control has a non-conceptual element in the same way as perceptual elements may have non-perceptual or analog elements. This thought process on creative imagery provides an alternative to the ideas of Finke as it discusses that an exact movement has such a specific grain and by nature may be of a non-conceptual character. Carruthers (2000) speaks of a combination of the perceived and the non-perceived elements in the conceptualization of creative thoughts and skilled action. This combination is largely based on the fact that the learning process includes other senses – the tactile, the olfactory, the auditory, and the gustatory. And these elements may be influenced by other factors which may not be based on passive perceptions (Frankish, 2004). Summary Finke’s study establishes a clear and comprehensive understanding creative imagery and emergent structures. This study establishes how these images are often influenced by a person’s perceptions on both the conscious and the unconscious level. When given a blank canvass, a person may paint the canvass based on what he sees and how he perceives what he sees. On a deeper level, out intentions usually help color the creative imagery which often forms in our mind. Cognitive learning processes which are within one’s creative imagination are both spontaneous and within one’s conscious control. Creativity may not be adequately controlled, and it is often not planned. Ideas and images often come from the intentional machinations of the mind, both in the spontaneous and intuitive realms of thinking. Consequently, the learning process must be supported on all fronts by one’s conscious control; moreover, one’s creative imagination can be spurred on by the subconscious plane and the creative aspect of one’s perceptions. Reference Baars, B. J. 1996, When are images conscious? The curious disconnection between imagery and consciousness in the scientific literature, Consciousness and Cognition, 5, 261–264. Beaney, M. 2005, Imagination and creativity, London: The Open University. Carruthers, P. (2007). The creative-action theory of creativity. In P. Carruthers, S. Laurence, and S. Stich (eds.), The Innate Mind: Volume 3: Foundations and the Future, Oxford: Oxford University Press. Carruthers, P. 2009, Invertebrate concepts confront the Generality Constraint (and win), viewed 15 November 2011 from http://www.philosophy.umd.edu/Faculty/pcarruthers/The%20Generality%20Constraint.pdf Finke, R. 1996, Imagery, Creativity, and Emergent Structure, Consciousness and Cognition, 5, 381–393. Frankish, K. 2004, Mind and Supermind, Cambridge: Cambridge University Press. Glenberg, A. M., Gutierrez, T,, Levin, J. R., Japuntich, S., & Kaschak, M. P. 2004, Activity and imagined activity can enhance young children's reading comprehension, Journal of Educational Psychology, 96, 424-436. Heiser, J. 2004, External Representations as Insights to Cognition: Production and Comprehension of Text and Diagrams in Instructions, Unpublished Doctoral Dissertation, Stanford University. Horn, R. 2008, The Praeger handbook of education and psychology, Volume 2, London: Greenwood Publishing Group. Schwartz, D. & Heiser, J. 2006, Spatial Representations and Imagery in Learning, Stanford University, viewed 15 November 2011 from http://aaalab.stanford.edu/papers/Spatial_Representation_and_Learning.pdf Thomas, N. 1999, Are Theories of Imagery Theories of Imagination? An Active Perception Approach to Conscious Mental Content, Cognitive Science, 23 (2): 207-245 Read More