Pattern-Seeking Through Play

Meredith's worldplay was shot through with yet another well-recognized ingigredienlent of creative thinking, the comparison and synthesis of two or more unlike things. As the mathematician and poet Jacob Bronowski famously expressed it, the discoveries of science and of art "are explorations—^more, are explosions, of a hidden likeness The same holds true for the insights generated in worldplay. Documents of play in Lewis, like many a child, combined the animal and the human in Lord Big. Una...

 Characteristics of Worldplay

Worldplay appeared to be a solitary, or perhaps intimately shared, pastime. Over the years nearly everyone in my extended family heard or saw something of Kar, yet immersion in that make-believe remained a solo pursuit for Meredith. Thomas Malkin, Hartley Coleridge, Barbara FoUett, and Stanislaw Lem also played alone. Friedrich Nietzsche played in the imaginary world of King Squirrel with his sister; C. S. Lewis played in Boxen with his brother. Worldplay looked to be constructive, that is ...

 Mental Illness is Not Correlated with Genius

What madness may have to do with creativity and genius has continued to intrigue down to this day, with scholars arguing for and against the association, its benefits and its deficits. In 1995, in a large scale and statistically convincing study of 1,004 eminent individuals of the 20th century, psychiatrist Arnold Ludwig argued that no necessary or sufficient correlation, hence no causal connection, between mental illness and creative achievement was to be found. Individuals in artistic profe...

 Considering Art Creative but Engineering Not as a Questio...

In retrospect, Cohen and MacKeith made a number of questionable assumptions that undermine that conclusion. To be fair, these assumptions were quite common among psychologists at the time and still persist to a significant degree among the public. One of these assumptions is that some activities, such as the arts, are inherently creative, whereas others, such as science or engineering, are not. Another assumption is that creativity is a function of one's ability to fantasize, which is to say,...

 The Personal Equation

Sounds like a "fuzzy set." Which comes into play when you try to categorize things that vary continuously into discrete groups. Can't be done without ambiguruity and bias. As a geneficist by the name of Pearl demonstrated when he had 15 scienfists sort the same 532 com kernels into yellow-starchy, yellow-sweet, white-starchy or whitesweet groupings. Each scientist came up with a different count. Instead of objectivity. Pearl discovered "personal equation," the slight nuance in perception each...

 World-Play as Self-Apprenticeship

...worldplay can be studied as a kind of self-apprenticeship in creative practice, rather than prodigious application in discipline or craft. The childhood inventor of imaginary lands often elaborates his or her world in multiple ways at once. He or she may write stories and compose music, draw maps and build models, design games, and possibly construct a secret language—all within the context of play. It is likely, therefore, that childhood woridplay confers benefits that differ substantia...

 Blends, Bricolage, and Chimeras of Association in Child I...

Blends and bricolage can tell us much about the young imagination and its potential for mature creativity. No one is surprised when a child substitutes a little toy truck television show—though perhaps we should be. No matter how unremarkable, all blends reflect the imagination at work. That said, our notice of make-believe chimeras generally increases, the more unlikely the juxtaposition of their elements. What we notice and notice again in child's play are the blends and complexes that ar...

 Imaginative Play Creates Ownership

Ultimately, the child as creator exercises a whole range of capacities that set the Stage for original thinking. We find the imprint of creative practice in the blending of experiences and ideas, the classifications of real and imagined things, the organization of systemic patterns and narrative sequences, the modeling of worlds, the generation of artifacts, and the synthesizing of all that is known and felt into one grand design. The creating self "owns" the processes and products of make-...

 Why Kids Abandon Creative Play

The observation that play gets short shrift as children come of age in the Western world is surely as old and as perennial as that civilization itself. The Bible puts it thus: "When I was a child, I spake as a child, I felt as a child, I thought as a child: now that 1 am become a man, I have put away childish things." Turning their attention to the phenomenon, psychologists have asked what might be the causal factors. In the early 1900s, for instance, G. Stanley Hall argued that as children...

 How Utopian Stories Can Encourage Work in Reality

"I do a lot of public speaking, often debating public figures on television or other high profile settings, or giving speeches to large audiences," one Fellow, an immigration rights lobbyist, wrote in her query response. "I am constantly, almost involuntarily, honing my skills by debating adversaries or giving speeches when I'm alone (in the car or walking to the metro). They're not exactly imaginary worlds, but rather imagined versions of real-life settings in which I find myself" Equally ...

 Computer Models as Play

There is, indeed, an "art" to worldplay in the social sciences that fuses narrative with analytical technique. There is also a kinship with the arts in the relationship between imagined world and reality, a point brought home by political scientist and ellow Robert Axelrod. In the early 1960s the teenage Axelrod won the Westinghouse kience Talent Search for a very simple computer simulation of hypothetical lifeforms behaving in an artificial environment. Ever since, he has worked on the appli...

 How Literacy Impacts Reading and Gaming

For Ellie, that charade contributed to her waning interest in computer games and simulations fi-om its highpoint in middle childhood. Reasonably versed in computer technologies and a fan of emerging online forums such as Tumblr, she agreed to talk about her play in virtual worlds not as an enthusiast, but as something of a philistine. She enjoyed Second Life—but only up to a point. "The imaginative part stopped for me when I stopped designing my avatar," she told me. Further opportunities...

 Agency in Reading VS Gaming

Comparing computer play with reading fiction reveals much about thes^se shortcomings. Reading stimulates the mental recreation of settingg, characterers, a and acactiojons in viLxal, auditory, tactile, kinesthetic, and other sensory images. One "sees" the pirate h the scar slashing across his cheek. One "hears" the sail flapping in the wind. One "feels" the swell of the waves on ship deck. Perhaps one also "smells" the salt air. nd so on. The reader pulls all these sensory images together i...

 Agency in Game Creation VS Game Play

Game design has been referred to as an art, and it is for the designers, calling upon all their powers of imaginative and creative production. For the child user, however, game play is not an art, but more of a sport. What we're talking about here is the difference between the free-form activity of pretend play and soccer on the playground or in organized leagues. In the first, child-determined goals and constraints respond or in organized leagues. In the first, child-determined goals and con...

 Game Play Informs Real World Play

For Molly, computer play in a simulated world connected strongly with off-line play. It reinforced her desire to create fictional worlds of her own. And it helped sharpen her understanding of that creative endeavor. In evaluating the imaginative and creafive worth of childhood activities, of course, this is the gold standard: that reading or watching television, that trips to the theater, to art and science ce museuns, an and id yyes, that play with computer games should stimulate personal en...

 Adult Participation in Children's Worldplay

In The Brightening Glance: Imagination and Childhood (2006), the art theorist Ellen Handler Spitz argues that "[t]he topic of adult participation in children's play is delicate, complex, and controversial," largely due to the overwhelming influence a parent or a teacher or even adult-generated entertainment media can have. Adults must work hard not to impose their owti interests, methods, or judgments upon play activity. The act of modeling and encouraging can, indeed, be fi-aught with miss...

 Worldplay Relevance to Mature Creativity

First, worldplay nurtures the capacity for continued pretend play, especially thrthrough middle and late childhood, well after the intense exploration of make-believe/e in early childhood typically fades. Second, worldplay exercises a range of cognitive capacities involved in projecting alternate realities, including imaginative thinking skills such as imaging, empathihizing, recognizing and forming patterns, dimensional thinking, and modeling. As wtwelbll, it may develop and sustain attitu...

 Applications for Simulated Worlds

Consider that applications of simulated worlds and simulated games to science and social science research are on the increase. Businesses build virtual worlds for commercial purposes. Scientists utilize video games to crowd-source solutions to protein folding, to invesfigate complexity theory and artificial life, to visualize the physics of black holes, and to research economic, social, and psychological behaviors. Call of Duty, Second Life, World of Warcraft—and the software that makes the...