Although Freud launches a devastating critique of religion, he makes significant contributions to religious maturity. On the “manifest” level, he attacks religion as illusion; on the “latent” level, however, he is preoccupied with religion as mystery deep in the psyche. This difference is between religion as “critical” or as “postcritical” (Polanyi)—as dualistically split from, or emergent within, the psyche. Postcritical religion appears in Freud as mystery, unity, feeling, meaning, and creative agency. We see why, for Freud, the mother as matrix (...) keeps disappearing and what religious maturity is for “honest smallholders on this earth” who live within matrix as mystery. (shrink)

Everyday artistic creativity is downplayed in our schools, our lives, our culture. Yet here is an essential language of our lives, opening us to important ways of knowing, truth, beauty, and means for creative coping, as individuals and as cultures. Views of John Dewey and Suzanne Langer are each considered. A devaluation of artistic creativity may also reflect unacknowledged biases related to emotional "versus" intellectual knowing, gender stereotyping, science "versus" art, individualism "versus" interdependence, false stereotypes of creative "unhealth," and eminent (...) "versus" everyday creativity. Addressing these holds promise for our personal well-being and development, and our greater health as cultures. (shrink)

Although the influence of affect on creativity has received some theoretical and empirical attention, the role of affect as a consequence of creative problem solving has been neglected. This study is the one of the first to examine empirically the affect that results from creative problem solving. In a 2 (group) × 3 (time period) × 2 (task) factorial design, 122 art and science students were randomly assigned to complete an art or science task and to report on the kind (...) and intensity of affect before, during, and after creative problem solving. It was predicted that art and science students would report different levels of affect only after the insight, not before or during, and that the effects of task, not just group, would contribute to affective variability between art and science students. Science students reported similar levels of (positive) affective intensity before and during creative insight as art students. It was only after the insight that art students reported more intense affective experiences than science students. Task differences accounted for a significant amount of variance in affective intensities, but primarily for art-oriented subjects. These findings suggest that viewing affect as a dependent variable of cognition, rather than primarily as an independent variable, is a direction that would benefit the field of empirical work on cognition and emotion. Current cognitive theories of emotion offer much potential in understanding the affective consequences of creative problem solving. (shrink)