2019/08/20 by Vanina Leschziner, Gordon Brett · 1 citation
Psychology · #Action (physics) #Action Observation and Synchronization #Cognition #Cognitive psychology #Cognitive science #Computer science #Creativity #Creativity in Education and Neuroscience #Creativity technique #Embodied cognition #Epistemology #Perspective (graphical) #Process (computing) #Psychology #Social cognition #Social psychology #Sport Psychology and Performance
paper · doi:10.1177/0190272519851791
crossref issued 2019/08/20 · crossref published 2019/08/20 · crossref published-online 2019/08/20 · openalex publication_date 2019/08/20 · crossref created 2019/08/20 · crossref published-print 2019/12/01 · openalex created_date 2025/10/10 · crossref deposited 2026/05/01 · crossref indexed 2026/07/31 · openalex updated_date 2026/07/31
Scholars in sociology and social psychology typically represent creativity as an imaginative and deliberate mental activity. Such a perspective has led to a view of creativity as disconnected from the body and the senses as well as from nonanalytic cognition. In this article, we demonstrate that creativity is more grounded in bodily and sensory experience and more reliant on a combination of cognitive processes than has been typically recognized. We use literature on social cognition and embodiment to build our arguments, specifically, the embodied simulation perspective and tripartite process models. We draw from data on elite chefs to show how actors rely on embodied simulations, continually switch between heuristic and analytical thinking, and monitor and control their cognitive processing during the creative process. We outline the implications of this study for the understanding of creativity and extant models of cognition and action more generally.