PSY CH O LO G Y O F C R EA T IV IT Y :

T H E C R EA T IV E PR O C ES S
Senior Seminar/spring
Pr ofessor : Patricia Stokes
H OU R S: Class Wednesday 4-6
415L Milbank
854-2764, pstokes@barnard.edu

This seminar investigates the creative process by briefly reviewing classic models of
creativity before applying contemporary models to several domains. Our discussions will
be organized around the question Are people (painters, architects, musicians) more
creative working with or without constraints? One current model suggests that the
(counter-intuitive) answer is the second, that constraints make creativity possible. To see
if this is so, readings and museum visits will acquaint us with the habits and output of
major creative figures. Each seminar member will pursue an area for individual
investigation (and class presentation). Our ongoing investigations will be recorded in a
handbook that will be written (in parts) throughout the semester. The completed
handbook is the required research paper. Finally, since psychology shows that we learn
best by doing, we will try on a series of compositional constraints to see which make
our own writings more precise, convincing, creative.
________________________________________________________________________
Readings
1. Psychology: Reprints (marked with *) will be provided in class or via courseworks.
Books (in bold face and italicized) will be purchased.
a. The Artistic Personality: A Systems Perspective Abuhamdeh &
Csikszentmihalyi *
b. The Domain of Creativity Csikszentmihalyi *
c. Expertise and Deliberate Practice Ericcson *
d. Integrating Brain Science with Intelligence Research Garlick *
e. Manic-Depressive Illness and Creativity Jamison*
f. Creative Problem Solving: Notes from the Autobiography of a Fugue
Reitman *
g. Creative Misconceptions - Schlesinger *
h. Inside the Tool Box: Creativity, Constraints, and the Colossal Portraits of
Chuck Close Stokes *
i. Creativity from Constraints: The Psychology of Breakthrough Stokes
j. Creativity: Genius and Other Myths Weisberg*
2. Literature: Reprints (marked with *) will be provided. Buy books at B&N
a. Living by Fiction,* The Writing Life- A. Dillard
b. Still Life, Sugar,* Sugar and Other Stories A.S. Byatt
c. The Art of the Novel,* Ignorance M. Kundera
d. Fantasy, * Invisible Cities I. Calvino

3. Readings for your project

________________________________________________________________________
FORMAT
Two sessions will provide a foundation in the creativity literature.
Two sessions will focus on the visual arts: you will visit/discuss two museum shows.
Four sessions will focus on constraints in literature.
During the remaining sessions, each member will present her (pre-approved) independent
project to the group.
Writing in this seminar is continuous and cumulative. The instructor will collect and
comment on all weekly assignments. The final research paper will incorporate everything
covered in class plus your independent project.
________________________________________________________________________
Grading Policy
Weekly preparation and participation
20%
Weekly writing assignments
20%
Independent project and presentation
20%
Final paper
40%
________________________________________________________________________
The Semester
Read, See, and Write always mean for the next class.
Date

Discussion

Read or See (for next class)

Write (for next

class)

1/20

Introduction

Comtemporary Models See handout.

Read:
Csikszentmihalyi, Ericcson,
Reitman, Weisberg (ch. 1, 7, 8),
Stokes (ch.1, 2, paper)

1/27

Contemporary Models
Background Matisse

See at MOMA:
Matisse:
In permanent collection
Cut-outs
Read: Stokes (ch. 4)

2/03

Constraints in Art 1
Matisse

See handout

Traditional Models See handout.

Read:
Weisberg (ch. 2, 3, 4, 5)
Abuhamdeh & Csikszentmihayli
Garlick, Jamison, Schlesinger

Date

Discuss

Read or See (for next class)

Write (for next

class)
See handout
Write short
memoir..

2/10

Traditional Models
Background Cubism

See at the Met:

Cubism ( Lauder Collection)
Read:
Stokes (handout)

2/17

Constraints in Art 2
Cubism

Stokes (Chapter 2)
Byatt (papers, two stories:
Sugar, Rose-Colored Teacups)

See handout.
Rewrite memoir
in Byatts style

2/24

Constraints in Literature
1
Memory/Memoir
Metaphor and Mimesis
in Byatt

Calvino reprints, Invisible

Cities

See handout.
Rewrite memoir
in Calvinos style.

Make appointments to see me

about your independent
projects. Presentation dates will
be decided by lottery.
3/03

Constraints in Literature
II
- Fantasy and Fracture in
Calvino

Kundera reprint, Ignorance

See handout.
Rewrite memoir
in Kunderas style

3/10

Constraints in Literature
III
- Definition and
Composition in Kundera

Dillard reprint, The Writing

Life

See handout.
Rewrite memoir
in Dillards style.

3/17
3/24

Constraints in Literature
IV
- Plain Prose and
Rewriting in Dillard

Break
Using the constraint model,
structure a table of contents for
your handbook.

See handout.

3/31

Handbook
Presentations

Write draft for introduction and

models

See handout

4/07

Presentation 1

Write draft for section on

constraints in art:
Intro (define domain, etc).
Commonalities

See handout

Analyses of styles/artists
Read or See (for next class)

Date

Discuss

Write (for next

class)
See column to
left.

4/14

Presentation 2

Write draft for section on

constraints in literature:
Intro
Commonalities Byatt, etc.
Separate analysis each author.

4/21

Presentation 3

Write notes on memoirs (how

See column to
each was redone to match Byatt left.
et als constraints). This section
can be included with literature or
in a separate appendix.

4/28

Presentation 4

5/5

Dessert at our apartment

Complete handbook due

Learning Goals:
To understand how constraints facilitate the creative process.
To (jointly) analyze and (then independently) apply the constraints used by creative
writers to students own work.
To independently analyze and present a constraint analyses of an individual or movement
chosen by each student.