This research paper is about historical interfaces of creativity with psychedelics. We have to detect issues, see connections and contextualise the rise of creative thinking practices.
How did the field come about and why? How did this field of study emerge?
social, economic, technological, political context of emergence
Combine scientific + popular resources
How and why did they get interested in the relation between creativity and psychedelics?
When did it emerge?
Where did it emerge?
Who where the main initiators?
1. introduction
introduce the interface (200/300wrds)
Why it is an interesting theme
Research question
An outline of the aspects you think your going to address
Introduce arguments by posing a central question or by outlining your argument
2. Body
explore the history of the interface
Build your argument carefully
Through 3subquestions
3. Conclusion
summarise your answer to the research question
Showcase how your research yields new questions that may open up perspectives on creativity in the present
How are they related to the course/the minor
It all should contain
rationale and motivation for topic
Clarity of research question
Quality of the literature review
Text analysis and interpretation of insights
Argumentation
Pay attention to:
worldly events processes
Disciplines drawn from or left behind
How do engineering and and creative intersect
Efforts to make creativity scientific
extra information:
In the 1950s, a small amount of research was conducted on the potential connection between creativity and psychedelics. One notable study from this time period was conducted by Harvard psychologist Timothy Leary and his colleagues, who administered psychedelics to graduate students in the creative writing program at Harvard and observed changes in their writing. However, the use of psychedelics was largely discouraged and the research on this topic was limited due to the legal and cultural climate of the time. Additionally, most of the research done around 1950’s were mainly anecdotal and not controlled scientific studies.
The interest in the relationship between creativity and psychedelics in the 1950s was largely driven by the discovery of psychedelics, particularly lysergic acid diethylamide (LSD), and the initial excitement surrounding their potential therapeutic and creative benefits. At the time, some researchers believed that psychedelics could be used as a tool to access the unconscious mind and unlock creativity. Additionally, the cultural and countercultural movements of the time, such as the beat generation, were also interested in the creative potential of psychedelics.
In the 1950s, some of the main initiators of research on the relationship between creativity and psychedelics were Harvard psychologist Timothy Leary and his colleagues, who were among the first to investigate the potential of psychedelics for promoting creativity. They administered psychedelics to graduate students in the creative writing program at Harvard and observed changes in their writing.
Another key initiator was Dr. Oscar Janiger, a California-based psychiatrist who conducted research on the impact of psychedelics on creativity by administering LSD to artists and observing their creative process.
Additionally, Dr. Humphry Osmond, a British psychiatrist, and Dr. Abram Hoffer, a Canadian psychiatrist, also conducted research on the relationship between creativity and psychedelics, administering psychedelics to patients in their practice and observing changes in their creative abilities.
Finally, Dr. Stanislav Grof, a Czech-born psychiatrist and one of the founders of transpersonal psychology, also studied the relationship between creativity and psychedelics, using LSD and other psychedelics in his research on human consciousness and the therapeutic potential of non-ordinary states of consciousness.
These researchers were among the first to investigate the potential of psychedelics for promoting creativity and were key initiators of research on the topic in the 1950s.
In the 1960s, the social context of creativity was shaped by several factors. One of the main factors was the cultural and social changes that were taking place in the United States and Europe. This period was marked by the Civil Rights movement, the feminist movement, and the anti-war movement, which led to a growing desire for social change and a questioning of traditional norms and values. This desire for change also manifested in the arts, literature, and music, where experimentation and breaking with conventions became increasingly popular.
Additionally, there was a growing interest in the concept of creativity and its potential to improve people’s lives. This interest was fueled by the work of creativity experts such as George Land, who developed the “creativity quotient” and wrote extensively about the importance of fostering creativity in individuals and organizations.
Furthermore, the 1960s saw a rise in interest in Eastern spirituality and mindfulness practices, which led to an increased focus on self-discovery and personal growth. This interest in Eastern spirituality was also reflected in the art, literature, and music of the period, which often incorporated elements of mysticism and spirituality.
Finally, the Cold War and the threat of nuclear war also played a role in shaping the social context of creativity in the 1960s. The fear of the unknown and the future led to a search for new ways of thinking and new ways of creating meaning and purpose in life.
Therefore, the social context of the emergence of creativity around 1960 was shaped by cultural and social changes, the rising interest in creativity, the desire for social change and self-discovery, and the fear of the unknown.
Contextualize the rise of this way of thinking
Focus on: social, economical, technological and political context of emergence
Barron 1963, Barron recommended the application of psychedelic drugs to the study of creativity
Molar, 1965
Rogers 1959, suggests a more comprehensive rationale for the use of psychedelics agents as facilitative of creative activity for fostering creativity
Barron, F. Creativity ans psychological health, Princeton: Van Nostrand, 1963
http://www.garfield.library.upenn.edu/classics1986/A1986A563600001.pdf
Hoffer, A. LSD: a review of its present status. Clin Pharm & Therap., 1965, 6, 183-255
Holt, R. R. Imagery: the return of the ostracized. Amer. Psychologist, 1964, 19, 254-264
https://ascpt.onlinelibrary.wiley.com/doi/epdf/10.1002/cpt196562183?saml_referrer
Albert Hoffman discovered what LSD could do in April 1943
FREUD, S. The origins oj psychoanalysis. New York:
Basic Books, 1954.
https://www.thecrimson.com/article/2012/5/21/harvard-lsd-project-leary/
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5603818/
http://www.psychedelic-library.org/look1963.htm
https://journals.sagepub.com/doi/epdf/10.2466/pr0.1966.19.1.211 (1966)
