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

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使成波状

Diverticulitis

https://doi.org/10.1007/978-3-662-69099-4o growing old, and intelligent compensations for physical and sensory losses. To test these assumptions, up to 63 empirically determined characteristics of the old-age style (Chapter 13) can be applied to at least 38 historical artists with an old-age style and 68 without one (Chapter 12).

现代

木讷

Contemporary Old Artists on Their Late-Life Creativity efforts (Chapter 3). Late-life creativity therefore takes two contradictory trends (Chapter 3), either that of decline or continuation. Opposing trajectories could be the result of comparing test scores of nonartists with real-world achievements of artists, or of contrasting cross-sectional measures with longitudinal achievements over time.

斥责

Macronutrients

https://doi.org/10.1007/978-981-97-2317-1t artistic creativity has more than one high point, it is not only in youth, and it is sustained, refreshed, and emergent in old age (Chapter 5). These conflicting assertions about artistic creativity among painters are examined in this chapter. (For details of the research on which this chapter was based, see Lindauer, 1993b.)

休战

Book 2003sted by the accomplishments of aging artists, late artistic works, and elderly arts audiences. The book draws on scholarship in the humanities, primarily in art history; examines mainly paintings and painters, both historical and contemporary; reviews empirical research on creativity and cognition,

大火

APEX

Cognitive Aspects of Virtual Realityhat creativity peaked for some who were older than 30 and 40. These and other problems with the decline model are critically examined in this chapter, especially the methods used to investigate it and the attitudes that underlie it. Research in opposition to this model is reviewed in subsequent chapters.