Bjorkvold, Jon-Roar. The Culture of Children at Play. Chapter 3 in: The Muse Within: Creativity and Communication, Song and Play from Childhood to Maturity. Translated by William H. Halverson. New York: HarperCollins Publishers, Inc., 1992: 021-055, 35 pages (MT 1).
  In child culture, The ecological child, Analogical correspondences, Play as a way of being - here and now and beyond time and space, Child cultures meet and children learn, Play and innovation, Play, reason, understanding, and humor, The muse-ical imperative, Play as a fixed point amidst the chaos of life, The etymology of "play" and "music", The muses are born and the world sings,
___. The Muse-ical Child Goes to School. Chapter 5 in: Ibid.: 118-169, 52 pages.
  Our labyrinths, The squelching of childhood, From an ecology of learning to the stifling of learning, Literacy and orality, The pedagogy of the oppressed, In praise of the illiterate, Secondary illiteracy in the United States, Should children start school at an earlier age? A muse-ical school revolution in Russia, From an ecology of learning to an ecology of teaching, The muse-ical teacher, Music and improved learning, The capacity for wonder as a school resource, Music? Music! Russia, creativity, and politics.


Edwards, Betty. Drawing on the Artist Within: A Guide to Innovation, Invention, Imagination and Creativity. New York: Simon & Schuster, 1986: 001-231, 231 pages (NC 730).
  Art of seeing (Creativity, Gleams from within, Creativity, Definitions), Making thought visible (Parallel language, Telling marks, Insight, Intuition, First insight, Meaning), New strategies for thinking (Rules of the game, Points of view, Beautiful gestures, Snail's pace, Assumptions, More to seeing, Reason and rations, Shadows, Magic moment, Power from within).
___. Creativity: The Chameleon Concept. Chapter 1 in Part 1 A New Look at the Art of Seeing in: Ibid.: 001-009, 9 pages.
  Drawing on treasure hunt notes, A scaffolding of stages (First insight, Saturation, Incubation, Illumination, Verification), Talent: the slippery concept, Turning the tables on this strange situation, Basic skills of thinking, Summing up a point of view. In the years ahead, I believe that perceptual skills combined with verbal skills will be viewed as the basic necessities for creative thought.


London, Peter. Drawing from Within. Excerpt from Chapter 1 in: No More Secondhand Art: Awakening the Artist Within. Boston: Shambhala Publications, 1989: 026-034, 9 pages (N 71).
  Exiting and entering the ordinary world (Stop looking, Relax, Play, Lighten up, Change your pace, Get lost, Thin slice it). In order to create a new world, we have to give up our hold on this world, even if just for a while. We cannot be fully in both worlds simultaneously. How can we loose the hold ordinary living has upon us so that we may begin to open up to the possibility of a larger, a new, an unknown universe? Here are a few, briefly describe d approaches to releasing our grip on the old, ordinary world.
___. Advice to the Journeyman. Excerpt from Chapter 2 in: Ibid.: 055-060, 6 pages.
  Am I good enough? These questions are always lethal when asked at the outset of a creative engagement because there are always two answers to each question, both of which are always true, always opposed to each other, and always wrong. Beyond right and wrong: Anxiety about right and wrong also create profound barriers to creative enterprises. We cloak ourselves with a weighty garment that is bound to inhibit spontaneous movement. The notion that there is a right and a wrong in creative expression is inherently debilitating.
___. Designing Creative Encounters. Excerpt from Chapter 3 in: Ibid.: 078-090, 13 pages.
  The nature of the encounter, Elements of transformative rituals (Daring to be new, On not knowing, Bearing witness, Being there, You are both agent and subject of change, stopping the world, Solitude and communion), Responding from within: For the answer, a person must draw from within, at the level of self awareness where no ready answers reside. The question should "stop the world" require us to pause and stand back from the ordinary flow of our lives and reflect upon its underlying patterns and its ultimate possibilities.
___. Twelve Creative Encounters. Excerpt from Chapter 4 in: Ibid.: 124-127, 137-1 41, 9 pages.
  Going to the infinite well: There are times when familiar paths and ways keep us stuck in patterns no longer rewarding. We need to transverse new territory in new ways while minimizing the usual anxiety about doing so. We need to also cultivate a light hand and nimble mind. Yin/Yang: We need to invigorate our available creative capacities by bringing together what modern Western civilization has sundered, our pool of masculine and feminine energies. All things have some degree of both these energies.


Maisel, Eric. The Puzzle of Personality. Chapter 2 in: Staying Sane in the Arts: A Guide for Creative and Performing Artists. New York: G. P. Putnam's Sons, 1992: 030-053, 24 pages (NX 165).
  This chapter presents the artist's personality as if it were constructed of certain building blocks, using an approach known as personality trait theory. These ten have been culled from several sources: Intelligence, Introspective stance, Discipline, Honesty, Empathy, Self centeredness, Self direction, Assertiveness, Resiliency, Nonconformity, Strategies for self exploration.
___. Blocks. Chapter 4 in: Ibid.: 089-111, 23 pages.
  Sources of blocks, Blocks from parental voices, Personality blocks, Personality trait blocks, Self censorship, Self criticism, World criticism, World wariness, Existential blocks, Conflicts between life and art, Fatigue, Pressure paralysis, Environmental blocks, Social blocks, Material specific blocks, Skill deficits, Myths and idealizations, Self abuse, Anxieties, Depression, Incubation and fallow periods, The miracle of the creative act, Strategies for eliminating blocks.
___. The Rewards and Perils of Isolation. Chapter 7 in: Ibid.: 179-200, 22 pages.
  The values of solitude (Personality fit, Contact with work, Free play, Working out one's life, Contact with others, Spiritual journey, Safe haven, Integrity and the existential encounter, Aliveness), The dangers of prolonged isolation (Lack of relationships, Lack of knowledge, Minimal real world challenge, Workaholism, Prolonged unreality, Emotional disturbances, Aloneness and estrangement), Finding a personal balance, Strategies for finding and using solitude.


Maslow, Abraham H. The Creative Attitude. Structurist. 1963; 3: 004-010, 7 pages (N 9).
  Giving up the past, Giving up the future, Innocence, Narrowing of consciousness, Loss of ego, Inhibiting force of self, Fears disappear, Lessening of inhibitions, Strength and courage, Positive attitude, Trust versus trying, Taoistic receptivity, Integration of the B-cognizer, Dip into primary process, Esthetic perceiving, Fullest spontaneity, Fullest expressiveness, Fusion with the world. The concept of creativeness and self actualizing seem to be coming together.


Reichling, Mary J. Images of Imagination. Journal of Research in Music Education. 1 990; 38 (4): 282-293, 12 pages (ML 1).
  This article suggests various types of imagination and explores the possibility of stages of imaginative development. Imagination (Musician's image, Images from other fields), Four facets of imagination (Intuition, Perception, Thinking, Feeling), Levels of imagination (First stage: fantasy or magic, Second stage: reproductive or literal, Third stage: metaphorical and paradoxical), Discussion.


Youngblood, Michael S. The Dichotomous Man: The Message of Phaedrus. Studies in Art Education. 1983; 25 (1): 006-013, 8 pages (N 81).
  Artists are motivated primarily by emotion and intuition while scientists are stimulated primarily by logic and reason. The Romantic and Classic (Pirsig, Robert) modes of human thinking are reviewed in terms of physiological, psychological, and philosophical foundations. As a result it questions certain classroom procedures advocated in art education.

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