Creative visualization

Last updated

Creative visualization is the cognitive process of purposefully generating visual mental imagery, with eyes open or closed, [1] [2] simulating or recreating visual perception, [3] [4] in order to maintain, inspect, and transform those images, [5] consequently modifying their associated emotions or feelings, [6] [7] [8] with intent to experience a subsequent beneficial physiological, psychological, or social effect, such as expediting the healing of wounds to the body, [9] minimizing physical pain, [10] alleviating psychological pain including anxiety, sadness, and low mood, [11] improving self-esteem or self-confidence, [12] and enhancing the capacity to cope when interacting with others. [13] [14]

Contents

The mind's eye

The idea of a "mind's eye" goes back at least to Cicero's reference to mentis oculi during his discussion of the orator's appropriate use of simile. [15]

In this discussion, Cicero said that allusions to "the Syrtis of his patrimony" and "the Charybdis of his possessions" involved similes that were "too far-fetched"; and he advised the orator to, instead, just speak of "the rock" and "the gulf" (respectively) — on the grounds that, "The eyes of the mind are more easily directed to those objects which we have seen, than to those which we have only heard." [16]

The concept of "the mind's eye" first appeared in English in Chaucer's (c. 1387) Man of Law's Tale in his Canterbury Tales, where he tells us that one of the three men dwelling in a castle was blind, and could only see with "the eyes of his mind"—namely, those eyes "with which all men see after they have become blind." [17]

Visual and non-visual mental imagery

The brain is capable of creating other types of mental imagery, in addition to visual images, simulating or recreating perceptual experience across all sensory modalities, [18] including auditory imagery of sounds, [19] gustatory imagery of tastes, [20] olfactory imagery of smells, [21] motor imagery of movements, [22] and haptic imagery of touch, incorporating texture, temperature, and pressure. [23] [24]

Notwithstanding the ability to generate mental images across sensory modalities, [25] [26] the term "creative visualization" signifies the process by which a person generates and processes visual mental imagery specifically.

However, creative visualization is closely related to, and is often considered as one part of, guided imagery. In guided imagery, a trained practitioner or teacher helps a participant or patient to evoke and generate mental images [27] that simulate or re-create the sensory perception [28] of sights, [29] [30] sounds, [31] tastes, [32] smells, [33] movements, [34] and touch, [35] as well as imaginative or mental content that the participating subject experiences as defying conventional sensory categories. [36]

Nonetheless, visual and auditory mental images are reported as being the most frequently experienced by people ordinarily, in controlled experiments, and when participating in guided imagery, [37] [38] with visual images remaining the most extensively researched and documented in scientific literature. [39] [40] [41]

All mental imagery, including the visual images generated through creative visualization, can precipitate or be associated with strong emotions or feelings. [42] [43] [44]

Therapeutic application

The therapeutic application of creative visualization aims to educate the patient in altering mental imagery, which in turn contributes to emotional change. Specifically, the process facilitates the patient in replacing images that aggravate physical pain, exacerbate psychological pain, reaffirm debilitation, recollect and reconstruct distressing events, or intensify disturbing feelings such as hopelessness and anxiety, with imagery that emphasizes and precipitates physical comfort, cognitive clarity, and emotional equanimity. This process may be facilitated by a practitioner or teacher in person to an individual or a group. Alternatively, the participants or patients may follow guidance provided by a sound recording, video, or audiovisual media comprising spoken instruction that may be accompanied by music or sound. [45]

Whether provided in person, or delivered via media, the verbal instruction consists of words, often pre-scripted, intended to direct the participant's attention to intentionally generated visual mental images that precipitate a positive psychologic and physiologic response, incorporating increased mental and physical relaxation and decreased mental and physical stress. [46]

Stages

According to the computational theory of imagery, [47] [48] [49] which derives from experimental psychology, the process of creative visualization comprises four stages: [50]

Stage 1 is image generation, which involves generating mental imagery from memory, fantasy, or a combination. [51]

Stage 2 is image maintenance—the intentional sustaining or maintaining of imagery, without which a mental image is subject to rapid decay and does not remain for sufficient duration to proceed to the next stages. [52]

Stage 3 is image inspection. In this stage, once generated and maintained, a mental image is inspected and explored, elaborated in detail, and interpreted in relation to the participant. [53] This often involves a scanning process, by which the participant directs attention across and around an image, simulating shifts in perceptual perspective. [54]

Stage 4 is image transformation, in which the participant transforms, modifies, or alters the content of generated mental imagery, into substitute images that provoke negative feelings, indicate suffering, and exacerbate psychological pain—or that reaffirm disability or debilitation for those that elicit positive emotion, and are suggestive of autonomy, ability to cope, and an increased degree of mental aptitude and physical ability. [55]

Absorption and attention

For the participant to benefit from this staged process of creative visualization, he or she must be capable of or susceptible to absorption, which is an "...openness to absorbing and self-altering experiences." [56] [57]

Furthermore, the process of processing visual images places demands upon cognitive attentional resources, including working memory. [58] [59]

Consequently, in clinical practice, creative visualization is often provided as part of a multi-modal strategy that integrates other interventions, most commonly guided meditation or some form of meditative praxis, relaxation techniques, and meditation music or receptive music therapy, because those methods can increase the participant's or patient's capacity for or susceptibility to absorption, enhance control of attention, and replenish requisite cognitive resources, thereby increasing the potential efficacy of creative visualization. [60] [61]

Individuals with ADHD often exhibit a greater creative potential, and an increased ability to produce and visualize unique verbal and nonverbal ideas. [62] However, they also show a weaker ability to generate creative solutions when given restrictive criteria, such as procedure, practicality, and time. This weakness is due to cognitive rigidity, [63] which frequently co-morbid with ADHD. The weaknesses in attention, focus, and motivation are exacerbated by frustration from rigidity, making creative conceptualization substantially harder when guidelines are given. [64] However, increased mind-wandering, lateral thinking, and persistence from ADHD allows for more out of the box thinking. As a result, while affected individuals are able to visualize more creative and original abstractions, [65] they fall short on creating and finalizing ideas when given specific criteria. [66] [67]

Guided imagery

Although, visual and auditory mental images are reported as being the most frequently experienced by people [68] [69] and even with visual images remaining the most extensively researched and documented in scientific literature, [70] [71] [72] the term creative visualization appears far less frequently in scientific, peer-reviewed, and scholarly publications than the term guided imagery, which research authors commonly use to indicate the generation, maintenance, inspection, and transformation of mental imagery across all modalities, and to refer exclusively and specifically to the processing of visual imagery. Also, some authors use the term creative visualization interchangeably with guided imagery. Meanwhile, others refer to guided imagery in a way to indicate that it includes creative visualization. [73] [74] [75]

Furthermore, investigative, clinical, scientific, and academic authors frequently measure, analyze, and discuss the effects of creative visualization and guided imagery, collectively and inseparably from other mind–body interventions they are commonly combined with—including meditation music or receptive music therapy, relaxation, guided meditation or meditative praxis, and self-reflective diary-keeping or journaling. This often makes it difficult to attribute positive or negative outcomes to any one of the specific techniques. [76] [77] [78] [79]

Effectiveness

Creative visualization might help people with cancer feel more positive, but there "is no compelling evidence to suggest positive effects on physical symptoms such as nausea and vomiting." [80]

Related Research Articles

In the philosophy of mind, neuroscience, and cognitive science, a mental image is an experience that, on most occasions, significantly resembles the experience of "perceiving" some object, event, or scene but occurs when the relevant object, event, or scene is not actually present to the senses. There are sometimes episodes, particularly on falling asleep and waking up, when the mental imagery may be dynamic, phantasmagoric, and involuntary in character, repeatedly presenting identifiable objects or actions, spilling over from waking events, or defying perception, presenting a kaleidoscopic field, in which no distinct object can be discerned. Mental imagery can sometimes produce the same effects as would be produced by the behavior or experience imagined.

<span class="mw-page-title-main">Baddeley's model of working memory</span> Model of human memory

Baddeley's model of working memory is a model of human memory proposed by Alan Baddeley and Graham Hitch in 1974, in an attempt to present a more accurate model of primary memory. Working memory splits primary memory into multiple components, rather than considering it to be a single, unified construct.

The cognitive revolution was an intellectual movement that began in the 1950s as an interdisciplinary study of the mind and its processes, from which emerged a new field known as cognitive science. The preexisting relevant fields were psychology, linguistics, computer science, anthropology, neuroscience, and philosophy. The approaches used were developed within the then-nascent fields of artificial intelligence, computer science, and neuroscience. In the 1960s, the Harvard Center for Cognitive Studies and the Center for Human Information Processing at the University of California, San Diego were influential in developing the academic study of cognitive science. By the early 1970s, the cognitive movement had surpassed behaviorism as a psychological paradigm. Furthermore, by the early 1980s the cognitive approach had become the dominant line of research inquiry across most branches in the field of psychology.

<span class="mw-page-title-main">Stephen Kosslyn</span> American psychologist, neuroscientist, and expert on learning

Stephen Michael Kosslyn is an American psychologist and neuroscientist. Kosslyn is best known for his work on the science of learning, visual imagery, and visual communication. Kosslyn is the president of Active Learning Sciences Inc., which helps institutions design, deliver, and assess active-learning based courses and educational programs. He is also the founder and chief academic officer of Foundry College, an online two-year college.

<span class="mw-page-title-main">Mental rotation</span>

Mental rotation is the ability to rotate mental representations of two-dimensional and three-dimensional objects as it is related to the visual representation of such rotation within the human mind. There is a relationship between areas of the brain associated with perception and mental rotation. There could also be a relationship between the cognitive rate of spatial processing, general intelligence and mental rotation.

Spatial visualization ability or visual-spatial ability is the ability to mentally manipulate 2-dimensional and 3-dimensional figures. It is typically measured with simple cognitive tests and is predictive of user performance with some kinds of user interfaces.

Gordon Howard Bower was a cognitive psychologist studying human memory, language comprehension, emotion, and behavior modification. He received his Ph.D. in learning theory from Yale University in 1959. He held the A. R. Lang Emeritus Professorship at Stanford University. In addition to his research, Bower also was a notable adviser to numerous students, including John R. Anderson, Lawrence W. Barsalou, Lera Boroditsky, Keith Holyoak, Stephen Kosslyn, Alan Lesgold, Mark A. Gluck, and Robert Sternberg, among others.

<span class="mw-page-title-main">Imagination</span> Creative ability

Imagination is the production of sensations, feelings and thoughts informing oneself. These experiences can be re-creations of past experiences, such as vivid memories with imagined changes, or completely invented and possibly fantastic scenes. Imagination helps apply knowledge to solve problems and is fundamental to integrating experience and the learning process. As a way of building theory, it is called "disciplined imagination". A way of training imagination is by listening to storytelling (narrative), in which the exactness of the chosen words is how it can "evoke worlds".

The Vividness of Visual Imagery Questionnaire (VVIQ) was developed in 1973 by the British psychologist David Marks. The VVIQ consists of 16 items in four groups of 4 items in which the participant is invited to consider the mental image formed in thinking about specific scenes and situations. The vividness of the image is rated along a 5-point scale. The questionnaire has been widely used as a measure of individual differences in vividness of visual imagery. The large body of evidence confirms that the VVIQ is a valid and reliable psychometric measure of visual image vividness.

Neurodevelopmental framework for learning, like all frameworks, is an organizing structure through which learners and learning can be understood. Intelligence theories and neuropsychology inform many of them. The framework described below is a neurodevelopmental framework for learning. The neurodevelopmental framework was developed by the All Kinds of Minds Institute in collaboration with Dr. Mel Levine and the University of North Carolina's Clinical Center for the Study of Development and Learning. It is similar to other neuropsychological frameworks, including Alexander Luria's cultural-historical psychology and psychological activity theory, but also draws from disciplines such as speech-language pathology, occupational therapy, and physical therapy. It also shares components with other frameworks, some of which are listed below. However, it does not include a general intelligence factor, since the framework is used to describe learners in terms of profiles of strengths and weaknesses, as opposed to using labels, diagnoses, or broad ability levels. This framework was also developed to link with academic skills, such as reading and writing. Implications for education are discussed below as well as the connections to and compatibilities with several major educational policy issues.

Motor imagery is a mental process by which an individual rehearses or simulates a given action. It is widely used in sport training as mental practice of action, neurological rehabilitation, and has also been employed as a research paradigm in cognitive neuroscience and cognitive psychology to investigate the content and the structure of covert processes that precede the execution of action. In some medical, musical, and athletic contexts, when paired with physical rehearsal, mental rehearsal can be as effective as pure physical rehearsal (practice) of an action.

Guided imagery is a mind-body intervention by which a trained practitioner or teacher helps a participant or patient to evoke and generate mental images that simulate or recreate the sensory perception of sights, sounds, tastes, smells, movements, and images associated with touch, such as texture, temperature, and pressure, as well as imaginative or mental content that the participant or patient experiences as defying conventional sensory categories, and that may precipitate strong emotions or feelings in the absence of the stimuli to which correlating sensory receptors are receptive.

Cultural neuroscience is a field of research that focuses on the interrelation between a human's cultural environment and neurobiological systems. The field particularly incorporates ideas and perspectives from related domains like anthropology, psychology, and cognitive neuroscience to study sociocultural influences on human behaviors. Such impacts on behavior are often measured using various neuroimaging methods, through which cross-cultural variability in neural activity can be examined.

Fred W. Mast is a full professor of Psychology at the University of Bern in Switzerland, specialized in mental imagery, sensorimotor processing, and visual perception. He directs the Cognitive Psychology, Perception, and Research Methods Section at the Department of Psychology of the University of Bern.

Aphantasia is the inability to create mental imagery.

<span class="mw-page-title-main">Creative visualization (New Age)</span> New Age practice

Creative visualization is a term used by New Age, popular psychology, and self-help writers and teachers in two contexts.

Audio therapy is the clinical use of recorded sound, music, or spoken words, or a combination thereof, recorded on a physical medium such as a compact disc (CD), or a digital file, including those formatted as MP3, which patients or participants play on a suitable device, and to which they listen with intent to experience a subsequent beneficial physiological, psychological, or social effect.

Sex differences in cognition are widely studied in the current scientific literature. Biological and genetic differences in combination with environment and culture have resulted in the cognitive differences among males and females. Among biological factors, hormones such as testosterone and estrogen may play some role mediating these differences. Among differences of diverse mental and cognitive abilities, the largest or most well known are those relating to spatial abilities, social cognition and verbal skills and abilities.

<span class="mw-page-title-main">Spatial ability</span> Capacity to understand 3D relationships

Spatial ability or visuo-spatial ability is the capacity to understand, reason, and remember the visual and spatial relations among objects or space.

Hyperphantasia is the condition of having extremely vivid mental imagery. It is the opposite condition to aphantasia, where mental visual imagery is not present. The experience of hyperphantasia is more common than aphantasia and has been described as being "as vivid as real seeing". Hyperphantasia constitutes all five senses within vivid mental imagery, although literature on the subject is dominated by "visual" mental imagery research, with a lack of research on the other four senses.

References

  1. ↑ Isaac, A. R., and Marks, D. F. (1994). Individual differences in mental imagery experience: Developmental changes and specialization. British Journal of Psychology, Vol. 85, 1994, pp479–500.
  2. ↑ McKelvie, S. J. (1995). The VVIQ as a psychometric test of individual differences in visual imagery vividness: A critical quantitative review and plea for direction. Journal of Mental Imagery, Vol. 19, Nos. 3-4,1995, pp1–106.
  3. ↑ McAvinue, L. P., and Robertson, I. H., Measuring visual imagery ability: A review. Imagination, Cognition and Personality, Vol. 26, No. 3, 2007, pp191–211.
  4. ↑ Cocude, M., and Denis, M., Measuring the temporal characteristics of visual images. Journal of Mental Imagery, Vol. 12, No. 1, 1988, pp89–101.
  5. ↑
    • Kosslyn, S. M., Image and mind. Cambridge, Massachusetts: Harvard University Press, 1980.
    • Kosslyn, S. M. (1987). Seeing and imagining in the cerebral hemispheres—A computational approach. Psychological Review, Vol. 94, No. 2, 1987, pp148–175.
    • Kosslyn, S. M., Thompson, W. L., and Ganis, G., The case for mental imagery. New York: Oxford University Press, Inc., 2006.
    • Marr, D. C., Vision: A computational investigation into the human representation and processing of visual information. New York: Freeman, 1982.
    • Kosslyn, S. M., Seeing and imagining in the cerebral hemispheres—A computational approach. Psychological Review, Vol. 94, No. 2, 1987, pp148–175.
    • Cichy, R. M., Heinzle, J., and Haynes, J. -D., Imagery and perception share cortical representations of content and location. Cerebral Cortex, Vol. 22, No. 2, 2012, pp372–380.
    • Slotnick, S. D., Thompson, W. L., and Kosslyn, S. M., Visual memory and visual mental imagery recruit common control and sensory regions of the brain. Cognitive Neuroscience, Vol. 3, No. 1, 2012, pp14–20.
  6. ↑ Lang, P. J., Levin, D. N., Miller, G. A., and Kozak, M. J., Fear behavior, fear imagery, and the psychophysiology of emotion: The problem of affective response integration. Journal of Abnormal Psychology, Vol. 92, No. 3,1983, pp276–306.
  7. ↑ Holmes, E. A., Coughtrey, A. E., and Connor, A., Looking at or through rose-tinted glasses? Imagery perspective and positive mood. Emotion, Vol. 8, No. 6, 2008, pp875–879.
  8. ↑ Holmes, E. A., and Mathews, A., Mental imagery in emotion and emotional disorders. Clinical Psychology Review, Vol. 30, No. 3, 2010, pp349–362.
  9. ↑ Wientjes, K. A., Mind-body techniques in wound healing. Ostomy/wound management, Vol 48, 11, 2002, pp62-67.
  10. ↑
    • Baird, C. L., and Sands, L., A pilot study of the effectiveness of guided imagery with progressive muscle relaxation to reduce chronic pain and mobility difficulties of osteoarthritis. Pain Management Nursing, Vol. 5, No. 3, 2004, pp97-104.
    • Schaffer, S. D., and Yucha, C. B., Relaxation and Pain Management: The relaxation response can play a role in managing chronic and acute pain. American Journal of Nursing, Vol. 104, No. 8, 2004, pp75-82.
    • Syrjala, K. L., Donaldson, G. W., Davis, M. W., Kippes, M. E., and Carr, J. E., Relaxation and imagery and cognitive-behavioral training reduce pain during cancer treatment: a controlled clinical trial. Pain, Vol. 63, No. 2, 1995, pp189-198.
    • Turner, J. A., and Jensen, M. P., Efficacy of cognitive therapy for chronic low back pain. Pain, Vol. 52, No. 2, 1993, pp169-177.
    • Manyande, A., Berg, S., Gettins, D., Stanford, S. C., Mazhero, S., Marks, D. F., and Salmon, P., Preoperative rehearsal of active coping imagery influences subjective and hormonal responses to abdominal surgery. Psychosomatic Medicine, Vol. 57, No. 2, 1995, pp177-182.
    • Eller, L. S., Guided imagery interventions for symptom management. Annual Review of Nursing Research, Vol.17, No.1, 1999, pp57-84.
  11. ↑ Margolin, I., Pierce, J., and Wiley, A. (2011). Wellness Through a Creative Lens: Mediation and Visualization. Journal of Religion and Spirituality in Social Work: Social Thought, 2011, Vol 30, No. 3, pp234-252.
  12. ↑ Rees, B. L., An exploratory study of the effectiveness of a relaxation with guided imagery protocol. Journal of Holistic Nursing, Vol. 11, No. 3, 1993, pp271-276.
  13. ↑ the Hirsch, C. R., Clark, D. M., and Mathews, A., Imagery and interpretations in social phobia: Support for the combined cognitive biases hypothesis. Behavior Therapy, Vol. 37, 2006, No. 3, pp223–236.
  14. ↑ Libby, L. K., Valenti, G., Pfent, A., and Eibach, R. P., Seeing failure in your life: Imagery perspective determines whether self-esteem shapes reactions to recalled and imagined failure. Journal of Personality and Social Psychology, Vol. 101, No. 6, 2011, pp1157– 1173.
  15. ↑ Cicero, De Oratore, Liber III: XLI: 163.
  16. ↑ J.S. (trans. and ed.), Cicero on Oratory and Orators, Harper & Brothers, (New York), 1875: Book III, C.XLI, p.239.
  17. ↑ The Man of Laws Tale, lines 550-553.
  18. ↑
    • Kosslyn, S. M., Ganis, G., and Thompson, W. L., Neural foundations of imagery. Nature Reviews Neuroscience, Vol. 2, No. 9, 2001, pp635–642.
    • Pearson, D. G., Mental imagery and creative thought. Proceedings of the British Academy, Vol. 147, 2007, pp187–212.
  19. ↑
    • Zatorre, R. J., Halpern, A. R., and Bouffard, M., Mental reversal of imagined melodies: A role for the posterior parietal cortex. Journal of Cognitive Neuroscience, Vol. 22, No. 4, 2010, pp775–789.
    • Arntz, A., Imagery rescripting as a therapeutic technique: Review of clinical trials, basic studies, and research agenda. Journal of Experimental Psychopathology, Vol. 3, 2012, pp121–126.
    • Zatorre, R. J., Halpern, A. R., and Bouffard, M., Mental reversal of imagined melodies: A role for the posterior parietal cortex. Journal of Cognitive Neuroscience, Vol. 22, No. 4, 2010, pp775-789.
    • Zatorre, R. J., Halpern, A. R., and Bouffard, M., Mental reversal of imagined melodies: A role for the posterior parietal cortex. Journal of Cognitive Neuroscience, Vol. 22, No. 4, 2010, pp775-789.
  20. ↑
    • Tiggemann, M., and Kemps, E., The phenomenology of food cravings: The role of mental imagery. Appetite, Vol. 45, No. 3, 2005, pp305–313.
    • Tiggemann, M., and Kemps, E., The phenomenology of food cravings: The role of mental imagery. Appetite, Vol. 45, No. 3, 2005, pp305–313.
  21. ↑ Stevenson, R. J., and Case, T. I., Olfactory imagery: A review. Psychonomic Bulletin and Review, Vol. 12, No. 2, 2005, pp244–264.
  22. ↑
    • Holmes, P., and Calmels, C., A neuroscientific review of imagery and observation use in sport. Journal of Motor Behavior, Vol. 40, No. 5, 2008, pp433–445.
    • Olsson, C. J., and Nyberg, L., Motor imagery: If you can't do it, you won't think it. Scandinavian Journal of Medicine and Science in Sports, Vol. 20, No. 5, 2010, pp711–715.
    • McAvinue, L. P., and Robertson, I. H., Measuring motor imagery ability: A review. European Journal of Cognitive Psychology, Vol. 20, No. 2, 2008, pp232–251.
    • McAvinue, L. P., and Robertson, I. H., Measuring motor imagery ability: A review. European Journal of Cognitive Psychology, Vol. 20, No. 2, 2008, pp232–251.
  23. ↑ Miquée, A., Xerri, C., Rainville, C., Anton, J. L., Nazarian, B., Roth, M., and Zennou-Azogui, Y., Neuronal substrates of haptic shape encoding and matching: a functional magnetic resonance imaging study. Neuroscience, Vol. 152, No. 1,2008, pp29-39.
  24. ↑ Juttner, M., and Rentschler, I., Imagery in multi-modal object learning. Behavioral and Brain Sciences, Vol. 25, No. 2, 2002, pp197–198.
  25. ↑ Kosslyn, S. M., Ganis, G., and Thompson, W. L., Neural foundations of imagery. Nature Reviews Neuroscience, Vol. 2, No. 9, 2001, pp635–642.
  26. ↑ Pearson, D. G., Mental imagery and creative thought. Proceedings of the British Academy, Vol. 147, 2007, pp187–212.
  27. ↑ Complementary, Alternative, or Integrative Health: What's In a Name? US Department of Health and Human Services. Public Health Service. National Institutes of Health. NIH Publication No. D347. Online Version. Retrieved 31 July 2015.
  28. ↑ Kosslyn S. M., Ganis G., and Thompson W. L., Neural foundations of imagery. Nature Reviews Neuroscience, Vol. 2, No. 9, 2001, pp635–642.
  29. ↑ McAvinue, L. P., and Robertson, I. H., Measuring visual imagery ability: A review. Imagination, Cognition and Personality, Vol. 26, No. 3, 2007, pp191–211.
  30. ↑ Cocude, M., and Denis, M., Measuring the temporal characteristics of visual images. Journal of Mental Imagery, Vol. 12, No. 1, 1988, pp89–101.
  31. ↑ Zatorre, R. J., Halpern, A. R., and Bouffard, M., Mental reversal of imagined melodies: A role for the posterior parietal cortex. Journal of Cognitive Neuroscience, Vol. 22, No. 4, 2010, pp775-789.
  32. ↑ Tiggemann, M., and Kemps, E., The phenomenology of food cravings: The role of mental imagery. Appetite, Vol. 45, No. 3, 2005, pp305–313.
  33. ↑ Stevenson, R. J., and Case, T. I., Olfactory imagery: A review. Psychonomic Bulletin and Review, Vol. 12, No. 2, 2005, pp244–264.
  34. ↑ McAvinue, L. P., and Robertson, I. H., Measuring motor imagery ability: A review. European Journal of Cognitive Psychology, Vol. 20, No. 2, 2008, pp232–251.
  35. ↑ Juttner, M., and Rentschler, I., Imagery in multi-modal object learning. Behavioral and Brain Sciences, Vol. 25, No. 2, 2002, pp197–198.
  36. ↑ Banissy, M. J., Walsh, V., and Ward, J., Enhanced sensory perception in synesthesia. Experimental Brain Research, Vol. 196, No. 4, 2009, pp565–571.
  37. ↑ Betts, G. H., The distribution and functions of mental imagery. New York: Columbia University, 1909.
  38. ↑ Tiggemann, M., and Kemps, E., The phenomenology of food cravings: The role of mental imagery. Appetite, Vol. 45, No. 3, 2005, pp305–313.
  39. ↑ Kosslyn, S. M., Thompson, W. L., and Ganis, G., The case for mental imagery. New York: Oxford University Press, Inc., 2006.
  40. ↑ Pearson, D. G., De Beni, R., and Cornoldi, C., The generation and transformation of visuo-spatial mental images. In M. Denis, R. H. Logie, C. Cornoldi, M. de Vega, and J. Engelkamp (Eds.), Imagery, language and visuo-spatial thinking. Hove: Psychology Press, 2001, pp1-23.
  41. ↑ Logie, R. H., Visuo-spatial working memory Hove. UK: Lawrence Erlbaum Associates, 1995.
  42. ↑ Lang, P. J., Levin, D. N., Miller, G. A., and Kozak, M. J., Fear behavior, fear imagery, and the psychophysiology of emotion: The problem of affective response integration. Journal of Abnormal Psychology, Vol. 92, No. 3,1983, pp276–306.
  43. ↑ Holmes, E. A., Coughtrey, A. E., and Connor, A., Looking at or through rose-tinted glasses? Imagery perspective and positive mood. Emotion, Vol. 8, No. 6, 2008, pp875–879.
  44. ↑ Holmes, E. A., and Mathews, A., Mental imagery in emotion and emotional disorders. Clinical Psychology Review, Vol. 30, No. 3, 2010, pp349–362,
  45. ↑
    • Morris, C., The use of self-service technologies in stress management: A pilot project. Master of Social Work Clinical Research Papers. Saint Catherine University, St. Paul, MN, 2012.
    • Carter, E., Pre-packaged guided imagery for stress reduction: Initial results. Counselling, Psychotherapy and Health, Vol. 2, No. 2, 2006, pp27-39.
    • Naik, M. N. S., Effect of guided imagery on life style among alcoholics. Sinhgad e-Journal of Nursing, Vol. 11, 2013.
    • Morris, C. W., and Morris, C. D., Increasing healthy habits and health behavior change in corporate wellness programs. Corporate Wellness Programs: Linking Employee and Organizational Health, Vol. 215, 2014.
    • Meador, K. S., The effect of synectics training on gifted and non-gifted kindergarten students. Journal for the Education of the Gifted, Vol.18, 1994, pp55-73.
    • Meador, K. S., Fishkin, A. S., and Hoover, M., Research-based strategies and programs to facilitate creativity. In Fishkin, A. S., Cramond, B., and Olszewski-Kubilius, P. (Eds.), Investigating creativity in youth: Research and methods, pp389-415. Cresskill, NJ: Hampton,1999.
    • Carter, E., Pre-packaged guided imagery for stress reduction: Initial results. Counselling, Psychotherapy and Health, Vol. 2, No. 2, 2006, pp27-39.
  46. ↑ Lang P. J., A bio-informational theory of emotional imagery. Psychophysiology, Vo.17, 1979, pp179–192.
  47. ↑ Kosslyn, S. M., Image and mind. Cambridge, Massachusetts: Harvard University Press, 1980.
  48. ↑ Kosslyn, S. M. (1987). Seeing and imagining in the cerebral hemispheres. A computational approach. Psychological Review, Vol. 94, No. 2, pp148–175.
  49. ↑ Kosslyn, S. M., Image and brain: The resolution of the imagery debate. Cambridge, Massachusetts: MIT Press, 1994.
  50. ↑
    • Kosslyn, S. M., Image and mind. Cambridge, Massachusetts: Harvard University Press, 1980.
    • Kosslyn, S. M. (1987). Seeing and imagining in the cerebral hemispheres—A computational approach. Psychological Review, Vol. 94, No. 2, 1987, pp148–175.
    • Kosslyn, S. M., Thompson, W. L., and Ganis, G., The case for mental imagery. New York: Oxford University Press, Inc., 2006.
    • Marr, D. C., Vision: A computational investigation into the human representation and processing of visual information. New York: Freeman, 1982.
    • Kosslyn, S. M., Seeing and imagining in the cerebral hemispheres—A computational approach. Psychological Review, Vol. 94, No. 2, 1987, pp148–175.
    • Cichy, R. M., Heinzle, J., and Haynes, J. -D., Imagery and perception share cortical representations of content and location. Cerebral Cortex, Vol. 22, No. 2, 2012, pp372–380.
    • Slotnick, S. D., Thompson, W. L., and Kosslyn, S. M., Visual memory and visual mental imagery recruit common control and sensory regions of the brain. Cognitive Neuroscience, Vol. 3, No. 1, 2012, pp14–20.
  51. ↑
    • Pearson, D. G., Mental imagery and creative thought. Proceedings of the British Academy, Vol. 147, 2007, pp187–212.
    • Kosslyn, S. M., Image and brain: The resolution of the imagery debate. Cambridge, Massachusetts: MIT Press, 1994.
    • Kosslyn, S. M., Thompson, W. L., and Ganis, G., The case for mental imagery. New York: Oxford University Press, Inc., 2006.
    • Cornoldi, C., and Rossana, D. B., Memory and imagery: A visual trace is not a mental image. In A. C. Martin, E. G. Susan, and C. Cesare (Eds.), Theories of Memory, pp87-110. Hove, UK: Psychology Press, 1998.
    • Gardini, S., Cornoldi, C., De Beni, R., and Venneri, A., Cognitive and neuronal processes involved in sequential generation of general and specific mental images. Psychological Research-Psychologische Forschung, Vol. 73, No. 5, 2009, pp633–643.
    • Farah, M. J. (1988). Is visual imagery really visual? Overlooked evidence from neuro- psychology. Psychological Review, Vol. 95, No. 3, 1988, pp307–317.
    • Li, J., Tang, Y. -Y., Zhou, L., Yu, Q. -B., Li, S., and Sui, D. -N., EEG dynamics reflects the partial and holistic effects in mental imagery generation. Journal of Zhejiang University-Science, Vol. 11, No. 12, 2010, pp944–951.
    • Hitch, G. J., Brandimonte, M. A., and Walker, P., Two types of representation in vi- sual memory—Evidence from the effects of stimulus contrast on image combination. Memory and Cognition, Vol. 23, No. 2, 1995, pp147–154.
    • Pearson, D. G. (2007). Mental imagery and creative thought. Proceedings of the British Academy, Vol. 147, 2007, pp187–212.
    • Pearson, D. G., and Logie, R. H., Effects of stimulus modality and working memory load on mental synthesis performance. Imagination, Cognition, and Personality, Vol. 23, Nos. 2-3, 2004, pp183–192.
    • Cornoldi, C., De Beni, R., Guisberti, F., and Massironi, M. (1998). Memory and imagery: A visual trace is not a mental image. In M. Conway, S. Gathercole, and C. Cornoldi (Eds.), Theories of memory. Hove, UK: Psychology Press, pp87-110.
  52. ↑ Kosslyn, S. M., Image and brain: The resolution of the imagery debate. Cambridge, Massachusetts: MIT Press, 1994.
  53. ↑ Kosslyn, S. M., Ganis, G., and Thompson, W. L. (2001). Neural foundations of imagery.Nature Reviews Neuroscience, Vol. 2, No. 9, pp635–642.
  54. ↑
    • Kosslyn, S. M., Image and brain: The resolution of the imagery debate. Cambridge, Massachusetts: MIT Press., 1994.
    • Kosslyn, S. M., Thompson, W. L., and Ganis, G., The case for mental imagery. New York: Oxford University Press, Inc., 2006.
    • Denis, M., and Kosslyn, S. M., Scanning visual mental images: A window on the mind. Cahiers De Psychologie Cognitive-Current Psychology of Cognition, Vol. 18, No. 4, 1999, pp409–465.
    • Baddeley, A. D., Human memory: Theory and practice. Needham Heights, MA, US: Allyn and Bacon, 1990.
    • Denis, M., and Carfantan, M., Enhancing people's knowledge about images. In P. J. Hampson, D. F. Marks, and J. T. E. Richardson (Eds.), Imagery: Current developments, pp197–222. London: Routledge, 1990.
    • Pylyshyn, Z. W., The imagery debate. Analog media versus tacit knowledge. Psychological Review, Vol. 88, No. 1, 1981, pp16–45.
  55. ↑
    • Pearson, D. G., De Beni, R., and Cornoldi, C., The generation and transformation of visuo-spatial mental images. In M. Denis, R. H. Logie, C. Cornoldi, M. de Vega, and J. Engelkamp (Eds.), Imagery, language and visuo-spatial thinking, pp1–23. Hove: Psychology Press, 2001.
    • Shepard, R. N., and Cooper, L. A., Mental images and their transformations. Cambridge, Massachusetts: MIT Press, 1982.
    • Kosslyn, S. M., Thompson, W. L., and Ganis, G., The case for mental imagery. New York: Oxford University Press, Inc., 2006.
    • Finke, R. A., Pinker, S., and Farah, M. J., Reinterpreting visual patterns in mental imagery. Cognitive Science, Vol. 13, No.1, 1989, pp 51–78.
    • Verstijnen, I. M., van Leeuwen, C., Goldschmidt, G., Hamel, R., and Hennessey, J. M., Creative discovery in imagery and perception: Combining is relatively easy, restructuring takes a sketch. Acta Psychologica, Vol. 99, No. 2, 1998, pp177–200.
    • Verstijnen, I. M., van Leeuwen, C., Goldschmidt, G., Hamel, R., and Hennessey, J. M., Creative discovery in imagery and perception: Combining is relatively easy, restructuring takes a sketch. Acta Psychologica, Vol. 99, No. 2, 1998, pp177–200.
    • Reisberg, D., The nonambiguity of mental images. In C. Cornoldi, R. H. Logie, M. A. Brandimonte, G. Kaufmann, and D. Reisberg (Eds.), Stretching the imagination: Representation and transformation in mental imagery New York: Oxford University Press, 1996.
    • Verstijnen, I. M., Hennessy, J. M., van Leeuwen, C., Hamel, R., and Goldschmidt, G., Sketching and creative discovery. Design studies, Vol. 19, No. 4, 1998, pp519– 546.
    • Reisberg, D., and Logie, R. H. (1993). The ins and outs of working memory. In Intons-Peterson, M, Roskos-Ewoldsen, B., Blake, R., and Clayton, K. (Eds.), Imagery, creativity and discovery Hillsdale, N.J.: Erlbaum Associates, 1993, pp. 39–76.
    • Brandimonte, M. A., and Collina, S., Verbal overshadowing in visual imagery is due to recoding interference. European Journal of Cognitive Psychology, Vol. 20, No. 3, 2008, pp612–631.
    • Watkins, M. J., and Schiano, D. J., Chromatic imaging—An effect of mental coloring on recognition memory. Canadian Journal of Psychology-Revue Canadienne De Psychologie, Vol. 36, No. 2, 1982, pp291–299.
    • Reed, S. K., Imagery and Discovery. In Roskos-Ewoldsen, B,. Intons- Peterson, M. J., and Anderson, R. (Eds.), Imagery, creativity and discovery: A cognitive perspective Amsterdam: North-Holland, 1993.
  56. ↑ Tellegen, A., and Atkinson, G., Openness to absorbing and self-altering experiences (absorption), a trait related to hypnotic susceptibility. Journal of Abnormal Psychology, Vol. 83, No. 3, 1974, pp268–277.
  57. ↑ Tellegen, A., A brief manual for the differential personality questionnaire. Minneapolis: Department of Psychology, University of Minnesota, 1982.
  58. ↑ Bexton, W. H., Heron, W., and Scott, T. H., Effects of decreased variation in the sensory environment. Canadian Journal of Psychology, Vol. 8, No. 2, 1954, pp70–76.
  59. ↑ Engelhard, I. M., van den Hout, M. A., and Smeets, M. A. M., Taxing working memory reduces vividness and emotional intensity of images about the Queen's Day tragedy. Journal of Behavior Therapy and Experimental Psychiatry, Vol. 42, No. 1, 2011, pp32–37.
  60. ↑ Bond, K., Ospina, M. B., Hooton, N., Bialy, L., Dryden, D. M., Buscemi, N., Shannahoff-Khalsa, D., Dusek, J., and Carlson, L. E., 'Defining a complex intervention: The development of demarcation criteria for "meditation"'. Psychology of Religion and Spirituality, Vol. 1, No. 2, May 2009, pp129–137.
  61. ↑ Shapiro, D. H. Jnr., 'Overview: Clinical and physiological comparison of meditation with other self-control strategies'. In Shapiro, D.H Jnr. and Walsh, R.N. (Eds.) Meditation: Classic and Contemporary Perspectives. Piscataway, New Jersey: Aldine Transaction, 1984, pp5-12.
  62. ↑ Peterson DJ, Ryan M, Rimrodt SL, Cutting LE, Denckla MB, Kaufmann WE, Mahone EM. Increased regional fractional anisotropy in highly screened attention-deficit hyperactivity disorder (ADHD). J Child Neurol. 2011 Oct; 26(10):1296-302.
  63. ↑ Scime, M. and Norvilitis, J. M. (2006), Task performance and response to frustration in children with attention deficit hyperactivity disorder. Psychol. Schs., 43: 377–386. doi:10.1002/pits.20151
  64. ↑ Capilla Gonzalez, A.; Etchepareborda MC; Fernandez Gonzalez, S.; Mulas, F.; Campo, P.; Maestu, F.; Lucas Fernandez, A.; Ortiz, T. (1 February 2004). "The neurofunctional foundation of cognitive rigidity in attention deficit hyperactivity disorder: some preliminary findings". Revista de Neurología (in Spanish). 38 (Suppl 1): S145–8. PMID   15011169.
  65. ↑ Palmiero, M; Nori, R; Aloisi, V; Ferrara, M; Piccardi, L (1 December 2015). "Domain-Specificity of Creativity: A Study on the Relationship Between Visual Creativity and Visual Mental Imagery". Frontiers in Psychology. 6: 1870. doi: 10.3389/fpsyg.2015.01870 . PMC   4664616 . PMID   26648904.
  66. ↑ Carson, S. H., Peterson, J. B., & Higgins, D. M. (2003). Decreased Latent Inhibition Is Associated with Increased Creative Achievement in High-Functioning Individuals. Journal of Personality and Social Psychology, 85, 499-606.
  67. ↑ Abraham, Anna; Windmann, Sabine; Siefen, Rainer; Daum, Irene; Güntürkün, Oner (2006). "Creative Thinking in Adolescents with Attention Deficit Hyperactivity Disorder (ADHD)". Child Neuropsychology. 12 (2): 111–123. CiteSeerX   10.1.1.406.7554 . doi:10.1080/09297040500320691. ISSN   1744-4136. PMID   16754532. S2CID   15518802.
  68. ↑ Betts, G. H., The distribution and functions of mental imagery. New York: Columbia University, 1909.
  69. ↑ Tiggemann, M., and Kemps, E., The phenomenology of food cravings: The role of mental imagery. Appetite, Vol. 45, No. 3, 2005, pp305–313.
  70. ↑ Kosslyn, S. M., Thompson, W. L., and Ganis, G., The case for mental imagery. New York: Oxford University Press, Inc., 2006.
  71. ↑ Pearson, D. G., De Beni, R., and Cornoldi, C., The generation and transformation of visuo-spatial mental images. In M. Denis, R. H. Logie, C. Cornoldi, M. de Vega, and J. Engelkamp (Eds.), Imagery, language and visuo-spatial thinking. Hove: Psychology Press, 2001, pp1-23.
  72. ↑ Logie, R. H., Visuo-spatial working memory Hove. UK: Lawrence Erlbaum Associates, 1995.
  73. ↑ Compare for example the results returned by Google Scholar for publications containing 'Creative Visualization' in the title: Creative Visualization with those containing 'Guided Imagery' Guided Imagery.
  74. ↑ Astin, J.A., Shapiro, S.L., Eisenberg, D. M., and Forys, M.A., Mind–body medicine: State of the science, implications for practice. Journal of the American Board of Family Medicine, Vol. 16:, 2003, pp131–147.
  75. ↑ Complementary, Alternative, or Integrative Health: What's In a Name? US Department of Health and Human Services. Public Health Service. National Institutes of Health. NIH Publication No. D347. Online Version. Retrieved 31 July 2015
  76. ↑ Astin, J.A., Shapiro, S.L., Eisenberg, D. M., and Forys, M.A., Mind–body medicine: State of the science, implications for practice. Journal of the American Board of Family Medicine, Vol. 16:, 2003, pp131–147.
  77. ↑ Post-White J. 2002. Clinical indication for use of imagery in oncology practice. In Voice Massage, Scripts for Guided Imagery, Edwards D.M (Ed.). Oncology Nursing Society: Pittsburgh, PA.
  78. ↑ Wallace KG. 1997. Analysis of recent literature concerning relaxation and imagery interventions for cancer pain. Cancer Nursing 20: 79–87.
  79. ↑ Luebert K, Dahme B, Hasenbring M. 2001. The effectiveness of relaxation training in reducing treatment-related symptoms and improving emotional adjustment in acute non-surgical cancer treatment: A meta-analytical review. Psycho-Oncology, Vol. 10: pp490–502.
  80. ↑ Roffe L, Schmidt K, Ernst E (2005). "A systematic review of guided imagery as an adjuvant cancer therapy" (PDF). Psychooncology (Systematic review). 14 (8): 607–17. doi:10.1002/pon.889. PMID   15651053. S2CID   71880414.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.