17 found
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  1.  12
    Scientific Genius a Psychology of Science.John Ziman & Dean Keith Simonton - 1988
  2.  12
    Scientific Genius: A Psychology of Science.John Ziman & Dean Keith Simonton - 1989 - British Journal of Educational Studies 37 (3):299.
  3.  17
    Creative Thought as Blind Variation and Selective Retention: Why Creativity is Inversely Related to Sightedness.Dean Keith Simonton - 2013 - Journal of Theoretical and Philosophical Psychology 33 (4):253.
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  4.  17
    Creative Productivity: A Predictive and Explanatory Model of Career Trajectories and Landmarks.Dean Keith Simonton - 1997 - Psychological Review 104 (1):66-89.
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  5.  18
    Talent and its Development: An Emergenic and Epigenetic Model.Dean Keith Simonton - 1999 - Psychological Review 106 (3):435-457.
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  6.  6
    Creative Thought as Blind Variation and Selective Retention: Why Sightedness is Inversely Related to Creativity.Dean Keith Simonton - 2013 - Journal of Theoretical and Philosophical Psychology 33 (4):253-226.
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  7. Human Innovation: Two Darwinian Analyses.Dean Keith Simonton - 2003 - In Simon M. Reader & Kevin N. Laland (eds.), Animal Innovation. Oxford University Press.
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  8.  58
    Creativity as Cognitive Selection: The Blind-Variation and Selective-Retention Model.Dean Keith Simonton - 2001 - Behavioral and Brain Sciences 24 (3):554-556.
    Campbell (1960) proposed a “blind-variation and selective retention” model of creative cognition. Subsequent researchers have developed this BVSR model into a comprehensive theory of human creativity, one that recognizes that human creativity operates by more than one cognitive process. The question is then raised of how the BVSR model can be accommodated within the Hull et al. selectionist system.
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  9.  25
    Individual Differences, Developmental Changes, and Social Context.Dean Keith Simonton - 1994 - Behavioral and Brain Sciences 17 (3):552-553.
  10.  62
    Defining and Finding Talent: Data and a Multiplicative Model?Dean Keith Simonton - 1998 - Behavioral and Brain Sciences 21 (3):424-425.
    The Simonton (1991) study of 120 classical composers may provide evidence for the existence of innate talent. A weighted multiplicative model of talent development provides a basis for evaluating the adequacy of Howe et al.'s conclusions.
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  11.  17
    Michael J. A. Howe. Genius Explained. Ix + 231 Pp., App., Refs., Index. Cambridge: Cambridge University Press, 2001. $13.95. [REVIEW]Dean Keith Simonton - 2002 - Isis 93 (3):475-475.
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  12.  41
    Human Creativity, Cultural Evolution, and Niche Construction.Dean Keith Simonton - 2000 - Behavioral and Brain Sciences 23 (1):159-160.
    Cultural evolution may be even more prolific in the generation of new forms than is biological evolution – especially when it takes the form of creative genius. Yet evolutionary theories have tended to overlook the factors that might select for outstanding individual creativity. A recent dual-inheritance theory is outlined and then integrated with the niche-construction theory of Laland et al.
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  13. Creativity in Personality, Developmental, and Social Psychology: Any Links with Cognitive Psychology.Dean Keith Simonton - 1997 - In T. B. Ward, S. M. Smith & J. Viad (eds.), Creative Thought: An Investigation of Conceptual Structures and Processes. American Psychological Association. pp. 309-324.
  14.  18
    Genes and Genius From Galton to Freud.Dean Keith Simonton - 1991 - Behavioral and Brain Sciences 14 (3):406-407.
  15. Emotion and Composition in Classical Music: Historiometric Perspectives.Dean Keith Simonton - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
     
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  16. Willing Creation: The Yin and Yang of the Creative Life.Dean Keith Simonton - 2008 - In John Baer, James C. Kaufman & Roy F. Baumeister (eds.), Are We Free?: Psychology and Free Will. Oup Usa.
     
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  17.  26
    Theory and Philosophy in the Psychology of the Arts.Dean Keith Simonton - 1986 - Journal of Theoretical and Philosophical Psychology 6 (2):122-123.
    Philosophy, historically at least, has played a large role in aesthetics, for philosophical aesthetics dates back to Aristotle's Poetics, and has attracted the attention of such notable thinkers as Kant, Dewey, Santayana, and Croce. Nonetheless, if I had to identify the philosophical foundation of most empirical astheticians, hedonism emerges as the clear winner. That is, researchers who study why people appreciate art subscribe to the pleasure theory of aesthetics. On the theoretical side, psychology of the arts is also richly endowed. (...)
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