[2] Sternberg, page 118.
[3] Spearman, Creative Mind, 1930.
4 Sternberg, The Nature of Creativity, page 45.
[5] Wallas, The Art of Thought, 1926.
[6] See L.C. Repucci, at the end of C.W. Taylor's article on the "Approaches to and definitions of creativity", in Sternberg, The Nature of Creativty, 1988.
[7] Stein, Creativity and Culture, 1953.
[8] Harmon, Social and technological determiners in creativity, 1956.
[9] Rothenberg, page 329.
[10] Taylor, page 119.
[11] Lowenfeld, 1957.
[12] Rand, The Nature of of Creative Thinking, 1952.
13Boden, Margaret, The Creative Mind, page 32.
[14] Rothenberg, page 5.
[15]Freud, S., Creative Writers and Day-Dreaming, reprint in The Freud Reader, page 439.
16Blanshard, Brand, "The Teleology of the Creative Act", reprint in Rothenberg, The Creativity Question, page 97.
[17]Philipson, Morris, Outline of a Jungian Aesthitics, page 47. Jung continues by describing what contribution can analytic psychology make to the root-problem of artisitc "creation," -- "the mystery of the creative energy?...Since "no creatiove mind can penetrate the inner soul of Nature," you will surely not expect the impossible from our pyschology, namely, a valid explanation of the greatest mystery of life, which we immediately feel in the creative impulse."
[18]Jung, C. G. "Psychology and Literature," The Modern Man in Searh of a Soul, New York, Harcourt, Brace, 1933, page 177.
[19]Gay, Peter, The Freud Reader, page 444. As part of Gay's introduction to S. Freud's artcilke on Leonardo da Vinci and a Memory of His Childhood.
[20]Nelson, Benjamin, in the introduction--"One of the Difficulties of Psycho-Analysis", in the reprint of S. Freuds book On Creativty and the Unconscious.
[21]Wallas, G., The art of thought, New York: Harcourt, Brace & World, 1928; reprint of "Stages of Control" in Rothenberg's, The Creativity Question.
[22] The Creative Process is explained later in the paper.
23Wallas, page 70.
24 Boden, 63.
[25] Boden, page 123. Also in reprsentation one particulr means in relationship to patterns. Such as the possible of recognizing a face in a crowd of 100 people one the computer is given a representative photgraph. Or in the recognition of a variety of patterns and products.
[26] Thid may seem particularly confusing--in language training on connectivist parallel systems, the computer, in learning by example, will produce similar results as children when learning various cases--and rules, applying them to new situations.
[27] Minsky, Marvin, Soceity of the Mind.
[28]Boden, page 162.
[29] Stiny, George, Algorithmic Aesthitics, 1978.
[30] Morris, Outline of an Jungian Aesthetics, page 48.