The libertarian attribute of Thaler and Sunstein’s nudge theory (Nudge: improving decisions about health, wealth, and happiness. Yale University Press, New Haven, 2008) is one of the most important features for its candidature as a new model for public policy-making. It relies on the reversibility of choices made under the influence of nudging. Since the mind is articulated into two systems, the choice taken by System 1 is always reversible because it can be overridden by the deliberative and corrective role (...) of System 2. This article does not aim to criticise the whole theory of nudge and neither to assess its practical efficacy as a policy-making tool. Rather it intends to show that there are doubts that the specific claim of reversibility is correct for a subset of nudges called “System 1 nudges” (Sunstein in The ethics of influence, Cambridge University Press, Cambridge, 2016). And that therefore, in this case, the libertarian claim seems little justified. The thrust of my argument contests the truth of the main pillar of the libertarian claim, namely the dual-process theory of mind. I will show that even the minimal version of dual reasoning, namely the Type 1 and Type 2 processes proposed by Evans and Stanovich (Perspect Psychol Sci 8(3):223–241, 2013), is weakened by psychological and neural data. (shrink)

There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...) that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art. (shrink)

Abstract“NOISE” is a term we are using to describe a complex and distressing aspect of the bodily and cognitive experience of many very ill psychiatric patients. By “noise,” we mean an internally experienced state of crowding and confusion created by a variety of stimuli, the quantity, intensity and unpredictability of which make it difficult for individuals so afflicted to tolerate and organize their experience. Attempts to do so may only add to confusion and psychotic phenomena.

The phenomenology of the creative process has been a neglected area of creativity research. The current study investigated the phenomenology of artistic creativity through semi-structured interviews with 11 artists. The findings consisted of 19 interlinked constituents, with 3 dynamics operating within these constituents: an intuition-analysis dynamic, a union-division dynamic, and a freedom-constraint dynamic. The findings are discussed in relation to the issues of creativity and spirituality, intuition and analysis, the creative synthesis, affective components, and flow. The findings display considerable overlap (...) with previous research into the phenomenology of the artistic creative process, yet place particular emphasis on the shift in sense of self associated with creative experience and the energising effect of a synthesis of disparate elements. (shrink)

Based on a psychobiographical approach, this study addresses magical thinking across the life span of Paulo Coelho. Paulo Coelho, who was born in Brazil in the 1940s, has become one of the most sold and famous contemporary authors in the world. In his life, as well as in his books, which are mainly autobiographical accounts, magic and magical thinking, spirituality, meaningfulness, and the living of one’s dream, are key themes. The aim of this study was to explore magic and magical (...) thinking in Paulo Coelho’s life and creative works. The study uses a psychobiographical single case study approach within the methodological frame of Husserl’s phenomenology. The author, Paulo Coelho, was chosen as the subject of research. Documents providing both first person and third person perspectives were subjected to content analysis. The findings show that magical thinking played an important role in Coelho’s creative works and in his life, in the form, for example, of ascriptions of magic to key situations in his life, the performance of daily rituals, mystic interpretations of life events, and his deep religious faith. Magical thinking is usually regarded as indicative of pathological and inappropriate cognitive and psychological behaviour, especially when found in adults in a westernised culture. However, the analysis of Coelho’s life and works shows that magical thinking can be utilised creatively and be integrated into one’s life to enable personal development and growth while simultaneously providing fertile ground for creative production. In Paulo Coelho’s case, the intertwining of religion and magical thinking provided deep meaning that guided his personal development. (shrink)

This paper examines the contemplative techniques that comprised wesley's method of spiritual transformation. By employing a psychoanalytic perspective that explains the pastoral effectiveness of the method, I claim that Wesley's view of spiritual growth was therapeutic and transformative as measured by contemporary clinical standards. Wesley's developmental model involved a series of spiritual phases each characterized by techniques and meditations that culminated in sanctification, a cognitive-emotional transformation marked by the eradication of sinful temptations and the perfection of altruism. Couched in a (...) theological idiom, the method helped individuals to work through conflicts created by the three main traumata of British middle class childhood: authoritarian parenting and unresolved bereavement grief. This paper argues that religious-cultural symbolism may promote transformations of archaic affect and neurotic conflict that progressively reshape these pre-reflective materials into complex existential insights and convictions. (shrink)

Haartman responds to points made by Malony and Carroll. Malony suggests that Methodist repentance was characterized by "devotion" and "joyous possession" rather than fear. Haartman argues that the hysterical crises and the persecutory ideation that accompanied Methodist conversion was often triggered by Wesley's invitation to accept God's love. The data points to a conflict model involving rage and anxiety, as well as devotion. Haartman concedes to Carroll's argument that the majority of Methodists hailed from the lower working class and that (...) the psychology of evangelical nurture does not apply to this constituency. However, the authors of the official autobiographies were drawn from the middling ranks and revealed struggles with authoritarian parenting. Haartman challenges Carroll's emphasis on orality and regression as the primary psychoanalytic explanation for Methodist spirituality. (shrink)

The author suggests a new model for interpretation of mystical experience, based on a fruitful combination of cognitive psychology and depth psychology. Offering a rather wide definition of mystical experience, the author then turns to two basic assumptions—a general systems approach and an organismic-holistic view of development. Hans Loewald's analysis of primary process cognition is combined with a multi-dimensional model of cognitive activity called "Interacting Cognitive Subsystems" , presented by John D. Teasdale and Philip J. Barnard. These two complementary theoretical (...) perspectives are applied to the analysis of both historical and contemporary examples of mystical experience, understood as a result of a dialectical interplay between these different coding systems, or the marriage between Ego and Id. (shrink)

The author suggests a new model for interpretation of mystical experience, based on a fruitful combination of cognitive psychology and depth psychology. Offering a rather wide definition of mystical experience, the author then turns to two basic assumptions—a general systems approach and an organismic-holistic view of development. Hans Loewald's analysis of primary process cognition is combined with a multi-dimensional model of cognitive activity called “Interacting Cognitive Subsystems” (ICS), presented by John D. Teasdale and Philip J. Barnard. These two complementary theoretical (...) perspectives are applied to the analysis of both historical and contemporary examples of mystical experience, understood as a result of a dialectical interplay between these different coding systems, or the marriage between Ego and Id. (shrink)

Summary According to Gestalt theory the impact of arts is not adequately described as a transfer of an artist’s message into a recipient’s state of mind. As a matter of fact (and effect) art represents complex fields of meaning (figurations) rooting in the specific conditions of art creation and proceeding to the concrete effects of art reception. From a psychological point of view artefacts cannot be reduced to static objects, nor are the recipients to be seen as passive spectators of (...) the scenery. Aesthetical experience is an action field from which the material of art and its reception emerge. In my contribution the relationship of subject and object in art is modelled in terms of Victor von Weizsäcker’s Gestaltkreis of perception and action. For this purpose, I will refer to the favourite subject of art coaching: the Moses of Michelangelo in Rome. (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)

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)

How good is psychotherapy as a tool of research into human nature? There is an orthodox defence of it as a research tool, which relies on showing that interpretations are true of the patient when they satisfy certain criteria. This defence is examined and rejected. The reply is considered that an interpretation which 'keeps things moving' is true, or an approximation to the truth. This reply is rejected by comparing and contrasting an interpretation in psychotherapy with one from brainwashing sessions. (...) Two suppositions about psychotherapy (which weaken its discovery powers) are deliberately adopted — the suppositions that the material produced is 'perspective' and 'method' dependent. An unorthodox defence of psychotherapy is then offered — by means of a watery sense of 'discover'. This enables us to outline a weak sense in which psychotherapy is a valid enterprise, but one which is still strong enough for research purposes. (shrink)

This volume is about the many ways we perceive. Contributors explore the nature of the individual senses, how and what they tell us about the world, and how they interrelate. They consider how the senses extract perceptual content from receptoral information. They consider what kinds of objects we perceive and whether multiple senses ever perceive a single event. They consider how many senses we have, what makes one sense distinct from another, and whether and why distinguishing senses may be useful. (...) They consider the extent to which the senses act in concert, rather than as discrete modalities, and whether this influence is epistemically pernicious, neutral, or beneficial. They explore both the familiar five sense modalities and other candidate sense modalities, including a sense for flavour, inner senses (e.g., a sense for pain), and various senses that may result from using sensory substitution devices. Contributors often represent competing views, and the methods they deploy sometimes differ from one essay to the next—with some drawing upon the sciences and engineering and others relying upon conceptual analysis. All contributors agree, nonetheless, that traditional theorizing about the senses is hampered by a neglect of the senses other than vision, and by the misconception that vision is a passive receptacle for an image thrown by a lens. And many contributors believe that it is unduly restrictive to think of perception as a collation of contents provided by individual sense modalities; they think that to understand perception properly, we need to build into our accounts the idea that the senses work together. The ambition of the volume is to begin to develop better paradigms for understanding the senses, and thereby to move toward a better understanding of perception. (shrink)

Recently, I have introduced the notion of a miniature of a boundary situation. It views the process of creativity as a miniature of a boundary situation, in which the ideas of Karl Jaspers and Sigmund Freud are combined. Thus, the miniature represents a problem-solving situation via the means of a regression in the name of the ego or a third thought process. In such situations of creativity, one is forging a new worldview or a Weltanschauung by discovering new knowledge. The (...) third thought process, as well as the miniature of the boundary situation, can be experienced only inward and subjectively by personal immersion in the situation, they lie outside the scope of objectification and they receive meaning only from a concrete personality and a concrete miniature situation, but their product is objective, it is a creative product. In this sense, heuristic methods do fail in boundary situations. Moderate stress is inherent to the boundary situation, the phenomenon of flow and its miniature, in which quantitative accumulations lead to qualitative changes, laying on a single continuum. Such a continuum is constructed nowadays in phenomenological psychiatry. In conclusion, the creative process viewed as moderate stress represents an intellectualizing of the miniature of a boundary situation or a sublimation. (shrink)

This thesis explores how we might think the relation between psychoanalysis and the cultural field through Donald Winnicott’s concept of the environment, seeking to bring the concept into dialogue with more “classical” strands of psychoanalytic theorizing. A substantial introduction sets out the rationale behind the thesis by reading Freud and Winnicott in relation to the “classic” and the “romantic”, or the “negative” and “positive”, in psychoanalytic thought. It goes on to outline the value of bringing these tendencies together in order (...) to think the relationship between psychoanalysis, culture and change. The chapters which follow move from psychoanalysis as a “cultural cure” – a method and discourse drawing on and feeding into a broad conception of cultural life – towards a notion of “culture as cure” informed by Winnicott’s theory of the environment. Chapter one examines Freud’s refusal of the “culture”/ “civilization” distinction and considers what it means for the idea of a cultural cure. Chapter two considers whether Winnicott’s thinking about “culture” ultimately prioritises the aesthetic over the political. Chapter three uses Aldous Huxley’s Brave New World to explore an analogy between totalitarianism, technology and maternal care. Chapter four turns to the series In Treatment to think about the intersections of therapy and technology in terms of reflection and recognition. Chapter five employs Ian McEwan’s Saturday as a means to reflect on the capacity of culture to cure. Ultimately, I suggest that social “cure” may require more than “good-enough” cultural forms and objects, but Winnicott’s “romantic” theorization of the aesthetic, coupled with a “classic” attention to structures of power and oppression may offer a means of thinking the relationship between psychoanalysis and culture in potentially transformative ways. (shrink)

The focus of the current study is the individual and environmental attributes of inventiveness among children and adolescents. Research was conducted on the young inventors who were part of a nation-wide inventive ideation contest for children and adolescents in P. R. China. A total of 621 4th to 12th grade students from 112 schools all over China participated in the study. Among them, 38 reported holding one or more patents. Independent t-test showed, compared to their lower-level counterparts, higher-level young inventors (...) were more intrinsically motivated for inventive endeavours and were more open to new experiences. They also reported more encouragement and resources for invention from their schools. Logistic regression showed that school encouragement made the major contribution in discriminating these two groups. 2×3 MANONA revealed a significant main effect of gender and age group but no significant interaction between the two factors. Results of the univariate tests challenged the stereotyped view against the inventive ability of girls. Girls scored higher in Openness and lower in executive thinking style. The aesthetic appeal of their inventive products was also rated higher by experts. Albeit this superiority, girls, however, reported less encouragement from their parents to make inventions. Results of the cross-sectional study of the different age groups did not support a hypothesized growth of inventiveness from the lower to the higher grades. Instead, an uneven developmental pattern in inventiveness and the relevant domains were revealed, which was on the large part attributed to the influence of the educational environment. Taken together, the results of the current study highlight the important role the environmental factors play in fostering or hindering the development of inventiveness among children and adolescents. (shrink)