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On Imagining: An Inquiry into the Experience of Imagination in the Lives of Artistic Professionals

机译：关于想象：艺术专业人士生活中的想象体验

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摘要

This dissertation explored experiences of imagination in the lives of artistic professionals in Los Angeles, California. Imagination was viewed as a complex inner process, forming content in the mind without any immediate input, while artistic creativity was considered to be productive activity with an original manifest product. Little prior research had been done in the field of psychology on the experiences of imagination in artists. The research question was: How do artistic professionals describe the lived experience of imagination in their creativity?;Semi-structured interviews were employed. Thirteen artistic professionals living in Los Angeles were interviewed for 1--1.5 hours each in a public space. Participants were working artists involved in creative collaborations aged from their 30s to their 70s. Participants responded to an open call through online artist-based forums and groups. Data analysis involved Kvale's (2007) thematic content analysis, including the processes of (i) coding, (ii) condensation, and (iii) interpretation. The method added conceptual insights from Moustakas's (1990) heuristic research, including self-dialogue, tacit knowing, intuition, and indwelling. Transcribed interviews were emailed to participants for their approval.;Results yielded the following: (i) Eight domains of experiences associated with imagination and creativity, with a total of fourteen primary themes and two subthemes. Domains involved experiences of imagination with self, others, the creative process, and spirituality, along with imagination and creativity related to the senses, dreams, hardship and survival, and play. (ii) Descriptions of imagination and creativity as personal experiences with intrapersonal, inter-personal, and transpersonal facets. (iii) Symbiotic relations with imagination and creativity vis-a-vis the act of applying imagination to play and to art. (iv) Indications that an imaginative experience can often, but not always, lead to creativity. (v) And a final integrative model based on results, called Integrated Model of Experiences of Imagination and Creativity .;Findings contributed to understanding the experiences of artistic professionals where imagination is viewed as a subjective and personal experience associated with creativity. Recommendations for future research include qualitative interviews with artists on imagination and play, imagination and healing, imagination and ordinary/extra-ordinary states of consciousness, imagination, and spirituality.
机译：本文探讨了加利福尼亚洛杉矶艺术专业人员生活中的想象力体验。想象力被认为是一个复杂的内部过程，不需要任何直接输入就可以在脑海中形成内容，而艺术创造力则被认为是具有原始表述产品的生产活动。在心理学领域，很少有关于艺术家想象力体验的研究。研究的问题是：艺术专业人士如何在创造力中描述想象力的真实经历？；采用半结构化访谈。居住在洛杉矶的13名艺术专业人士在公共场所接受了1至1.5小时的采访。参加的艺术家是从事创意合作的艺术家，年龄从30到70年代不等。参与者通过基于艺术家的在线论坛和团体来响应公开电话。数据分析涉及Kvale（2007）的主题内容分析，包括（i）编码，（ii）压缩和（iii）解释的过程。该方法增加了Moustakas（1990）启发式研究的概念性见解，包括自我对话，默契，直觉和居住。转录的访谈通过电子邮件发送给参与者，以供他们批准。结果产生以下结果：（i）与想象力和创造力相关的八个体验领域，共有十四个主要主题和两个子主题。领域涉及与自我，他人，创造过程和灵性的想象力体验，以及与感官，梦想，艰辛和生存以及游戏有关的想象力和创造力。 （ii）将想象力和创造力描述为具有人际，人际和超人方面的个人经历。 （iii）与想象力和创造力的共生关系，相对于将想象力应用于游戏和艺术的行为。 （iv）表明有想象力的经历通常可以但不总是导致创造力。 （v）最后一个基于结果的集成模型，称为“想象力和创造力体验的集成模型”；发现有助于理解艺术专业人员的经验，其中想象力被视为与创造力相关的主观和个人经验。对未来研究的建议包括对艺术家的想象力和游戏，想象力和疗愈，想象力以及意识，想象力和灵性的普通/非常规状态进行定性访谈。

著录项

  • 作者

    Rivera, Diana T.;

  • 作者单位

    Saybrook University.;

  • 授予单位 Saybrook University.;
  • 学科 Psychology.;Clinical psychology.;Occupational psychology.
  • 学位 Ph.D.
  • 年度 2018
  • 页码 228 p.
  • 总页数 228
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 整形外科学（修复外科学）;
  • 关键词

  • 入库时间 2022-08-17 11:52:57

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