Creative discovery in imagery and perception: Combining is relatively easy, restructuring takes a sketch

Verstijnen, Ilse M; Leeuwen, Cees van; Goldschmidt, Gabriela; Hamel, Ron; Hennessey, Jim

doi:10.1016/s0001-6918(98)00010-9

Cited by 70 publications

(39 citation statements)

References 9 publications

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“…However, flow and perceived difficulty were only significantly affected by what kind of cognitive feedback participants had access to during idea generation -perceptual or mental. The finding that sketching does not help more as task complexity increases is one also found by Verstijnen et al (1998b), where the beneficial effect of sketching was only found when particularly complex shapes (a threedimensional diamond) were excluded. The current study has therefore identified one specific factor that can influence perception of difficulty, namely sketching, and found that this effect is independent of cognitive load in terms of working memory capacity strain, which may play less of a role in creative flow than previously assumed.…”

Section: Perceived Difficulty Skill-challenge Balance and Cognitivesupporting

confidence: 54%

“…However, artists and designers may over-emphasise the value of sketching in enhancing creativity, with purported benefits of sketching to performance supported by only patchy and contradictory evidence (Anderson & Helstrup, 1993;Bilda, Gero, & Purcell., 2006;Kokotovich & Purcell, 2001;Verstijnen, Hennessey, van Leeuwen, Hamel, & Goldschmidt, 1998a;Verstijnen, van Leeuwen, Goldschmidt, Hamel, & Hennessey, 1998b). Nonetheless, creator attitudes reflect a belief that sketching must facilitate creativity and when sketching is thwarted the end result is often frustration (Bilda et al, 2006).…”

Section: Introductionmentioning

confidence: 99%

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Mental and perceptual feedback in the development of creative flow

Cseh

Phillips

Pearson

2016

Consciousness and Cognition

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Sketching is considered by artists and designers to be a vital tool in the creative process. However, research shows that externalisation during the creative process (i.e., sketching) is not necessary to create effectively. This study examines whether sketching may play a more important role in the subjective experience of creativity by facilitating the deeply focused, optimal state of consciousness termed 'flow' (being 'in the zone'). The study additionally explored whether sketching affects flow by easing cognitive load or by providing a clearer sense of self-feedback. Participants carried out the creative mental synthesis task (combining sets of simple shapes into creative drawings), experimentally simulating the visual creative process. Ideas were generated either mentally before committing to a final drawing, or with external perceptual support through sketching, and cognitive load was varied by using either three-or five-shape sets. The sketching condition resulted in greater experience of flow and lower perceived task difficulty. However, cognitive load did not affect flow and there was no interaction between load and sketching conditions. These findings are the first to empirically demonstrate that sketching increases flow experience, and that this is not dependent on an associated reduction in overall working memory load.

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Section: Perceived Difficulty Skill-challenge Balance and Cognitivesupporting

confidence: 54%

Section: Introductionmentioning

confidence: 99%

Mental and perceptual feedback in the development of creative flow

Cseh

Phillips

Pearson

2016

Consciousness and Cognition

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“…Content in mental images is frequently described to be interpreted (Logie, 2001), since, for most of its parts, it stems from semantic structures in LTM. The assumption of underlying spatial and semantic organization is in line with findings that structural reinterpretations of figures which are easy in perception are often hard in imagery (Chambers & Reisberg, 1992;Verstijnen et al, 1998): images already possess such a spatial and semantic grouping, where visual percepts yet have to be assigned one.…”

Section: Grouping and Chunkingsupporting

confidence: 64%

Spatial Principles in Control of Focus in Reasoning with Mental Representations, Images, and Diagrams

Engel

Bertel

Barkowsky

2005

Spatial Cognition IV. Reasoning, Action, Interaction

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Abstract. The effective control of attentional focus is an essential requirement in mental reasoning based on mental models and mental images, as well as in the interaction with external diagrams. In this paper, we argue for spatial organization principles common to various mental subsystems that entail a noncentralistic control of focus. We give a brief overview of mental spatial reasoning and present a review of psychological findings related to cognitive control. We review existing modeling approaches that realize control of focus in imagery, scene recognition, and mental animation. Based on these foundations, we identify basic spatial organizing principles that are shared by the diverse subsystems collaborating in mental spatial reasoning. We discuss the implications of these principles in the framework of a computational modeling approach and give an outline of the conception of control of focus in our computational architecture Casimir.

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“…Physics and mathematics students need to write out the symbolic derivations in order to understand complicated equations. More formally, Verstijnen, Leeuwen, Goldschmidt, Hamel, and Hennessey (1998) showed that externalisation is used when observers have a need to restructure a mental image. Externalisation seems to be a process which can be used to restructure uninterpretable input.…”

Section: Discussionmentioning

confidence: 99%

Look what I have felt: Unidentified haptic line drawings are identified after sketching

et al. 2008

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The difficulty that observers experience when trying to identify a raised line drawing by touch is still largely unexplained. In this article, we show that observers who are unable to haptically identify a raised line drawing are suddenly able to do so after they have sketched on paper what they have in their mind. We conducted three experiments: first of all we show that this effect is robust; in the second experiment, we show that identification-after-sketching is caused by visual inspection of the sketch, and not caused by feedback in general; and in the third we show that sketches which were identified by the observers who produced them, were also identified by completely naive viewers. These experiments demonstrate that during raised line drawing identification the mental capacities required to interpret the stimulus seem to be inadequate: although enough pictorial information was present to produce a sketch which could even be identified by naive viewers, the stimulus could not be identified by haptic and mental processing alone. Furthermore, we investigated whether increasing the haptic perceptual field by using two hands instead of one hand had an influence on identification performance. We did indeed find that using two hands significantly increased identification. We use both results to discuss the underlying mechanisms of haptic raised line drawing identification.

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Creative discovery in imagery and perception: Combining is relatively easy, restructuring takes a sketch

Cited by 70 publications

References 9 publications

Mental and perceptual feedback in the development of creative flow

Mental and perceptual feedback in the development of creative flow

Spatial Principles in Control of Focus in Reasoning with Mental Representations, Images, and Diagrams

Look what I have felt: Unidentified haptic line drawings are identified after sketching

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