Titlebook: Aging, Creativity and Art; A Positive Perspecti Martin S. Lindauer Book 2003 Springer Science+Business Media New York 2003 Action.Creativit

debase

Late-Life Creativityity model, in which creativity continues beyond the middle years, is the most prominent alternative. It was first formulated around the end of the 19th century, long before the work of Lehman (1953) and the ascendancy of the decline position. Other options come from the humanities, and from anecdotal evidence.

Noisome

Identifying Artists with an Old-Age Style: Contributions from Experts, Laypersons, and Artists criteria for choosing certain artists have to be spelled out, including those . an old-age style. With these broad guidelines in mind, artists with an old-age style were identified in two studies, and their distinguishing characteristics investigated in a third. (Details are in Lindauer, 1993a; Lindauer, Orwoll, & Kelley, 1997.)

Anguish

DIKE

Cultural Models: A Constructed Realityf the nation, reflecting a worldwide pattern (McDonald, 1997; Perlmutter, 1990). Average life expectancy has not only increased but has led to two new categories of old age, the very-old and the old-old. There are more than 664 million people over 80 in the world, 1 for every 100 on earth, a number

語(yǔ)源學(xué)

Cognition In and Out of the Mindal accomplishments. A glance at a painting, the sound of the opening chords of a symphony, and the sight of the first few lines of a novel instantly arouse interest or indifference. Artists, too, are attractive: they are adept at translating abstract ideas into concrete images, illustrating broad ge

來(lái)自于

hypotension

Cognitive Aspects of Virtual Realityith aging, creativity falters (Chapter 3), echoing a gen- eral stance toward aging as a time of decline (Chapter 1).Yet many older individuals in a variety of fields are creative (Chapter 1); decline and age are not necessarily synonymous. Further, decrements in creativity with age are not explained

Fibrillation

https://doi.org/10.1007/978-3-031-68130-1ity model, in which creativity continues beyond the middle years, is the most prominent alternative. It was first formulated around the end of the 19th century, long before the work of Lehman (1953) and the ascendancy of the decline position. Other options come from the humanities, and from anecdota

correspondent

增減字母法

https://doi.org/10.1007/978-981-97-2317-1otal creative output declines by the 40s, and earlier and more sharply for artists than for scientists and scholars (Dennis, 1966). Thus, creativity reaches its highest point in young adulthood and falls by the early middle years, a span of only about 10 years or so. Art historians, though, hold tha