Kreativitätsdenken
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Kreativitätsdenken
Innovationsprozess für unser Denken. Strategische Innovation für Teams | http://www.kreativitaetsdenken.de
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How Mind-Wandering and “Positive Constructive Daydreaming” Enhance Creativity and Improve Our Social Skills

How Mind-Wandering and “Positive Constructive Daydreaming” Enhance Creativity and Improve Our Social Skills | Kreativitätsdenken | Scoop.it


Freud asserted that daydreaming is essential to creative writing — something a number of famous creators and theorists intuited in asserting that unconscious processing is essential to how creativity works, from T. S. Eliot’s notion of “idea incubation” to Alexander Graham Bell’s “unconscious cerebration” to Lewis Carroll’s “mental mastication.” In the 1950s, Yale psychologist Jerome L. Singer put these intuitive observations to the empirical test as he embarked upon a groundbreaking series of research into daydreaming. His findings, eventually published in the 1975 bible The Inner World of Daydreaming (public library), laid the foundations of our modern understanding of creativity’s subconscious underbelly. Singer described three core styles of daydreaming: positive constructive daydreaming, a process fairly free of psychological conflict, in which playful, vivid, wishful imagery drives creative thought; guilty-dysphoric daydreaming, driven by a combination of ambitiousness, anguishing fantasies of heroism, failure, and aggression, and obsessive reliving of trauma, a mode particularly correlated with PTSD; and poor attentional control, typical of the anxious, the distractible, and those having difficulties concentrating......

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IMAGINE: thinking like a child, daydreaming productively and more...

Did you know that the most creative companies have centralized bathrooms? That brainstorming meetings are a terrible idea? That the color blue can help you double your creative output?
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Freud on Creative Writing and Daydreaming

Freud on Creative Writing and Daydreaming | Kreativitätsdenken | Scoop.it

 

“The opposite of play is not what is serious but what is real.”

Should we not look for the first traces of imaginative activity as early as in childhood? The child’s best-loved and most intense occupation is with his play or games. Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from reality; and he likes to link his imagined objects and situations to the tangible and visible things of the real world. This linking is all that differentiates the child’s ‘play’ from ‘phantasying.’ The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously — that is, which he invests with large amounts of emotion — while separating it sharply from reality.

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