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The Weisberg-Goldstein Syndrome

by by Paul Henrickson tm. 201

!omments on "#yron$% the &lm% 'ith (ariable e)tra*olations

by Paul Henrickson tm. 201

When #yron sur*risingly tells the intimate story o+ his nurse ha(ing seduced him

, 'ondered 'hy at eaculatory age he 'ould still ha(e need o+ a nursemaid....and

'ere society members a'are that these girls 'ould customarily se)ually abuse

their charges

/nd could such an e)*erience ha(e made it dicult +or him to understand the

"normal$ correlation bet'een heterose)uality and domestic marriage.

htt*s'''.youtube.com'atch(3usu)#4l5G6/

That old and rather nasty 7uestion% to 'hich 8reud thought he had the ans'er% o+the *ossible causes +or creati(e e9ort being related to unresol(ed ambiguities

bet'een se)ual e)*eriences and our res*onses to them being the +orming

agents +or the ty*es o+ creati(e results.

, am not reecting that idea #6T , 'ould like to *ro9er a *ossible enrichment. ,+

there are% as e(olutionary theories suggest% as*ects o+ indi(idual de(elo*ment

'hich go through +unctional di9erentiations% such as &ns into +eet it seems not

illogical to consider that in some members o+ our s*ecies the *rocreati(e urges

:that is another way of sayingI develop my myself both the male and female parts of me

morphs into the more mentally, or psychically generated impulse to form icons. An iconbeing here used to designate a formed, and informed, signicant image.This% in its

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turn% suggests the conce*t% 'hich% in conse7uence% e)*ands and more

elaborately details the +unction and the res*onsibility o+ the art commentator. ,t

is the res*onsibility o+ the *ublishing art critic to &nd the language to use that

'ill bridge the ga* bet'een the (isually gra*hic symbolic language the artist

uses and the &nal image a**earing on the retina o+ the obser(er. That% in itsel+%

is 7uite a ob.

;y documents on !e$ does this occur and 'hat is it doing to the ";?$ , had thought , 'as His

re*orted se)ual outrages such as sodomy% incest% homose)uality% menage a

trios% 7uartre or si) 'ere only% and% *erha*s% merely% his testing o+ the

boundaries :*arameters@ o+ the e)*erience. ,s the 'orld telling me that this is

'hat , must become% because it sees me in this light ,n 'hich case 'here is the

real :sic@ me% or is my reality nothing more than the 'orldAs e)*ectations or o+

their *ercei(ed needs%...or thoughtless im*ulses , am a hologram o+ the dreams

o+ other entities 5r% are they also holograms and nothing is anything more than

a reBection o+ a mental construct CC/nd God said CDet there be lightA and there

'as lightAA(Genesis 1:3)

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Eee+ 14F

=e'atead

/bbey

ADVICE FOR THE GULLIBLE AND IMPERCEPTIVE TH? E?/PP?/E/=!?S 58 ;/T/ H/E, /=I S,;5= ;/G6SJ

,n the &lm the director has #yron state !with some strongly emotional concern"'hen

his 'i+e oins him in his bed #he had been reading a boo$% Im in Hell!

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This image *roduced +rom the +ecund #ougereaumentality might +ully blo' the balance o+ manyMuslims...men "# is.

;y goodness...such conBictK...and ho' uncon(entionalK ;ost "normal$ men

'ould consider that a blessing and i+ they 'ere ;uslim it might be (ie'ed as a

blessing %be+ore his time% +rom /llah.

This touches u*on #yronAs res*onse to his 'i+e 'hen she asked him 'hat it 'as

she might do to make him content and his ans'er 'as that he liked 'omen to

laugh and% like so many% she said she 'ould "i+ he 'ould say something

amusing$...Well% that ans'er 'as not to the *oint% laughter is not merely a

res*onse to something +unny or ridiculous but a language o+ its o'n 'hen theyessayed it on the run to the hill.

/re 'e to understand that #yron 'ho seemed *er*etuously concerned about

*redestination +elt the only *ro*rer re*onse to destiny 'as to embrace it. That

seems to im*ly that there must be some understsnding o+ di(ine s*each...as

'ell%o+ course% the assum*tion that there is this sort o+ s*each.

Ho'e(er% it is not at all unusual +or creati(e thinkers to ha(e thought they had

some sort o+ mission to +ul&ll. *rha*s tha +eeling has its origin in the e)*eriencing

something *ushing one to'ard an unkno'n end. /n unkno'n end could 'ell be

inter*reted as some stranger knocking at the door.

.ADVICE FOR THE GULLIBLE AND IMPERCEPTIVE TH? E?/PP?/E/=!?S 58 ;/T/ H/E, /=I S,;5= ;/G6SJ Paul Henrickson

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tm. 201

$EI%BERGs n #n#l'sis ()* "e

+ulli,le-

#n GOLD%TEINs &/)mmens ()* "e im0e*/e0i1e-

T"e ()ll)2in+ is # *#"e* une30e/e *es0)nse ) "e #nn)un/emen

"# R),e* $. $eis,e*+ )( Tem0le Uni1e*si' "# 0u,lis"e # ,))4

I#m n) # #ll su*e "# ,e/#use )( "e *#"e* 5ui*4' 2#' m' min s)meimes2)*4s "e #n#l)+ies i s)me")2 "#00ene u0)n #*e n) in 1i#l (#/#,s)luel' #n #//u*#e es/*i0i)n )( ")2 I 0e*/ei1e "e *e/en 0u,li/#i)n ,'$ile' &the publishers')( R),e* $eis,e*+s 2)*4 2i" "e l)n+ ile im0l'in+

uni1e*s#li'.Creativity: Understanding Innovation in Problem

Solving, Science, Invention, and the Arts.

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I reserve some caution here for it may have been that Weisberg had not meant to imply

there as no difference beteen the so!called "common# mind set and the

e$traordinary# mindset, but the ording did, someho, trigger that response.%evertheless, he does deserve correction hen he also implies (by not referencing the

material)*that multi!ethnic studies have not been made in the area of creativity. &.Paul

'orrance did do such studies. E.Paul Torrance

( ')& *++WI%- IS U+'&/ *0+1 ')& +% I%& W&2SI'&: ordinarypeople

employ the samethought processes as the greats. Though used and developed differently bydifferent people, creativity can and should be studied as a positive psychological feature sharedby all humans.

%o, a vagrant thought of my on here. If e assume that the processes hich

characteri3e creative thin4ing in its inception are the same for those ho develop

creatively and for those ho do not e then are left ith the 5uestion as to hy the

difference from this. ) "is or

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or This (arying dra'ingstyles might 'ell be co(ered by WeisbergAs admission that "common$minds and "creati(e$ minds use the same material di9erently% #ut thisstatement doesnAt cut the cheese +or the absence o+ a *ro*er delineation

lea(es some readers 'ith the re*ulsi(e and hy*ocritically democraticnotion that "a+ter all 'e are all the same$ and , staunchly maintain that nocommon mind could *roduce the abo(e dra'ings.

1y off the cuff response to that ould be the differences lie in the reactions to social

pressures formed by early childhood e$periences ith discipline and reard and,

perhaps, a fe other things. In short, a battle of dominance and survival beteen the

self and the many. +nce that battle has been settled in favour of the individual ')&%

e achieve creative differentiation. In sum, it is not very helpful to our understanding to

merely indicate that in the beginning the behaviours of the common and the

e$traordinary are the same for hen mature, they are not.

*or hatever reason some individuals do e$actly hat they are told and appear content

to do so. +thers do so and harbour resentment for the imposition of authority. +thers

are openly rebellious and refuse outright, but seem to possess no alternative of their

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on, or they might simply need the time to find it.

As a child, hen I did e$perience praise for my efforts I silently re6ected it and felt

irritated by the person providing it for not comprehending my reasons for the effort in

the first place. +f course, my language abilities at the time ould not have made it

possible for me to e$press my disappointment...(nor do I think my audience would have understood it for

such an understandin is stronly for!idden !y most societies I now of"but it as definitely there. As an

e$tension of that thought eight 789 decades later I am still beildered by the occasional,

!ut temporary, non!appearance of hat I see4. +ne present theory is that it is all a matter

of pleasure....I simply en6oyed the mental scratch and the product result is not all that

important but I do not really believe that as, in that sense, a pastime. 'here are

sometimes other things going on hich urge the individual one ay or another and at

the ris4 of offending my colleagues in research I favour a being of some type or

another...perhaps 6ust another self that ants completion on the material level.

In a similar fashion, perhaps, I resent Weisberg and Scott 2arry aufman for not beingable to e$press these complicated procedural efforts in nothing more than an

algorithmic, step by step fashion rather than more completely in a Wagnerian,

2eethovenly of Puccinies4 chord, but then, that is the inherent problem ith the

literacy e 4no and use.

aufman, particularly, too4, ama#inly, credit for "putting order# in to the process of the

creative mind. What arrogance; 'he creative mind puts order into its on

process...that is hy, (I hope you all get it)they are creative in the first place;

C#ssius6 7T"e (#ul e#* B*uus is n) in )u* s#*s Bu in )u*sel1es

"# 2e #*e une*lin+s

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An "is )u* *es0)nses ) s)/i#l 0*essu*es i( 2e #*e n) ,)*n #sune*lin+s #//)uns ()* "e 1#*i)us #1enues "e /*e#i1e0e*s)n#li' #//)*in+ ) D*e1#"l #4es in is e8)*s ) es/#0e"e /)n*)lle*s.

'he ma6or stumbling bloc4 in this process is the mind!set of the "common# psychologistho, it seems, believes that everything has its place and that is here everything is, or, if

it isn

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#00*)1in+l' in # 4n)2le+#,l' 0*)(essi)n#l m#nne* )n "e 2)*4

)( # 0s'/")l)+is. C)ul $eis,e*+ n) :n # /))0e*#i1e

0s'/")l)+is;

An ) #s4 # simil#*l' *el#e 5uesi)n ) "e m#e* )( *u"

s0e#4in+.../)ul n) Te*es# Am#,ile "#1e se/u*e m)*e #00*)0*i#e

su,

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E.Paul Torrance always did (some fifty years ago' though it had not already taen placewhat *eis!er says he wants which$

he says$ shouldincludestudies of different people, creativity can and should be studied as a positive psychological featureshared by all humans....but not to the same e)tent, or similarly responsive to social pressu res

(Oh my God, Weisberg just murdered the Bell Curve and nothing will ever be the same'

&y comments follo$*

he !ro"esses, in !art, may be the same, but it should be the results that ma#e the di$$eren"e...yes% he only rationale

& "an see $or what a!!ears to be a not too o""ult e$$ort to demo"rati'e "reative behavior is some sort o$ a"t o$

!erni"ious envy, or a !oliti"al agenda.

&$ it were true that the ordinary !erson is also "reative one is tem!ted to as# why do the ordinary !erse"ute the

e*traordinary...whi"h is also a matter o$ established $a"t% One might !ossibly thin# that the ordinary, in some

$ashion, re"ogni'e an irritating di$$eren"e between themselves and the e*traordinary. & wonder what this might be.

& might also wonder why Weisberg, enthusiasti"ally su!!orted by Goldstein should a!!ear so intent u!on

"ommuni'ing the rare. +arvards eresa mabile seems to have the same goal whi"h is to de!rive the distinguished

o$ what distinguishes them and, thereby. limiting !er"e!tion to the !arameters o$ !oliti"al toleran"e, ...su"h is the

finaleo$ "ensorshi!.

&n the "ase o$ mabiles majors in business e"onomi"s having been determined to lie just li#e the rest o$ us +no$ isntthat a -olly conclusion/f $ere all bad together and all e0ually sinful, no one can get the blame. / $ould suppose &s. "mabile may have forgotten

ear 2ast history3or, $or her to "on"lude that the "reative mind "an also be du!li"itous and that, there$ore, there are no

di$$eren"es is, in addition to being an e*am!le o$ a "ons"ious reje"tion o$, or sele"tive memory $or, established $a"ts it

is also /(i$ one turns the "oin) an e*am!le o$ "onvention di"tated !er"e!tion. 0ome re$er to this as "onventional

dissonan"e, a mysti$ying i$ not an unattra"tive disorder

O$ "ourse, one might try to $orget that the !o!ulation o$ subje"ts had already de"lared themselves ready to lie $or abu"# and "ommitted to du!li"ity as majors in business management. 1y subje"ts had no su"h bias (he 2er"e!tive

and 0ilen"ed 1inorities, on www.s"ribd."om).

rom 5eisberg $e learn that conventional $isdom holds that creativity is a mysterious 0uality present in a select fe$

individuals.345 and it is true. The rest of us, the common vie$ goes, can only stand in a$e of great creative achievements*

$e could never paint 7uernica or devise the structure of the " molecule because $e lac access to the rarefied thoughts

and inspirations that bless geniuses lie %icasso or 5atson and 9ric. %resented $ith this vie$, today:s cognitive psychologists

largelydifferDO +56 &7D55D8 Who%finding instead that 9ordinary9 !eo!le em!loy the same "reative thought !ro"esses

as the greats.Though used and developed differently by different people, creativity can and should be studied as a positive

psychological feature shared by all humans the same ....but not to the same e*tent, or similarly res!onsive to so"ial

!ressure

5+ course% as my ;altese +riend +re7uently reminds me "one should reserve nal (udgement

until one evaluates the causes for behaviours/nd ,% +re7uently remind him that a+ter 'ekno' the reasons +or the beha(iours...'e still ha(e the beha(iours.

,n this *resent case% that is the WeisbergGoldstein syndrome 'e a**ear to ha(e a

*romotion% *ure and sim*le% not too unlike that o+ e)-!ongressman Wiener

'ho borro'ed no oneAs assistance in the *romotion

http://www.scribd.com/http://www.scribd.com/

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,t 'as a 7uite e)traordinary dis*lay

beha(iour 'hich may ha(e been% 'e remain unsure on this *oint% misleading.

#ut Weiner is a *olitician and % someho'% 'e e)*ect a *olitician to mislead...#6T =5T /

PS>!H5D5G,STK

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;y goodness% Lunior does seem to ha(e an e)traordinary inBuence o(er its

o'ner. Would it be too out o+ line to suggest that this is the source o+ much

creati(ity !ertainly it does seem that some claiming to be artists &nd it o+ some

*sychic satis+action to in(ite others to come "take a0e#4. Moons and Mo**le

are e)am*les. #ut 'hat e)cuse does Wiener ha(e ,t seems it must be done +or

him.

5thers such as Mo**le and Moons are more +or'ard.

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; goodness% Lunior does seem to ha(e an e)traordinary inBuence o(er its o'ner. Would it

be too out o+ line to suggest that this is the source o+ much creati(ity !ertainly it does

seem that some claiming to be artists &nd it o+ some *sychic satis+action to in(ite others

to come "take a *eak$. Moons Mo**le are e)am*les.

/+tersucha degrading comment it 'ould be only +air to *oint u* some aesthetic di9erences

ber'een Mo**le and Moons 'hich might be e(idences o+ some real di9erences. Works by

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Mo**le

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While the correlation bet'een narcissism and *hotogr*ahic technical ability is

remarkably high 'ithn many o+ the 'orks%beyond thr subect mater the organi

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ha(e le+t the &(e-year old mind set.

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Well no'% it 'ould a**ear that "truth$ and "+act$ are basic +or Moons and +or this

gets an a**ro(ing motherly kiss on the cheek +or being a good boy. , ha(e a

*roblem 'ith this image...my mother ne(er looked like that.

Weisberg tells us that the creati(e *rocess is the same in the e)traordinary as in

the ordinary and , 'ould suggest that that may also be a (alid com*arison +orthe she*herd 'ho counts his shee* the di(orcee 'ho counts her alimony and the

*riest 'ho counts the (alue o+ the sins you ha(e yet to commit. , think , sus*ect

some mischie+ here. Ies*ite Mo**elAs and MoonAs +ascination 'ith their *enises ,

cannot acce*t the Weisberg notion that the *rocedures are the same +or% ,

belie(e it ob(ious that Mo**elAs 'ork is su*erior to that o+ Moons e(en

considering the millions Moons has made titillating a stu*idly arrested mentality.

,n (ie' o+ the thesis , am +ormulating this *roected a**earance% thisbed% this *ain+ul dra'ing is as the *sychologist% Jean %iaget,'ould ha(erecogi

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;y theory holds that &lm and gra*hic *roductions and I reali

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%iaget studied areas of intelligence lieperceptionandmemorythat arent entirely logical. ;ogical concepts are described as being completely

reversible because they can al$ays get bac to the starting point. The perceptual concepts %iaget studied could not be manipulated. To describe

the figurative process, %iaget uses pictures as e)amples. %ictures cant be separated because contours cannot be separated from the forms they

outline. &emory is the same $ay. /t is never completely reversible. uring this last period of $or, %iaget and his colleague /nhelder also

published boos on perception, memory, and other figurative processes such as learning.+