Plural Imagination: Diversity in Mind and Making
MacKisack, M., Aldworth, S., Macpherson, F., Onians, J., Winlove, C., & Zeman, A. (2022). Plural imagination: diversity in mind and making. Art Journal, 81(3), 70–87. doi:10.1080/00043249.2022.2110444
Abstract
The experience of visual mental imagery—seeing in the mind's eye—varies widely between individuals, but perhaps because we tend to assume our own way of thinking to be everyone's, how this crucial variation impacts art practice, and indeed art history, has barely been addressed. We seek to correct this omission by pursuing the implications of how artists with aphantasia (the absence of mental imagery) and hyperphantasia (imagery of extreme vividness) describe their working processes. The findings remind us of the need to challenge normative, universalizing models of art making and art maker.
Authors
- Matthew MacKisack4
- Susan Aldworth2
- Fiona Macpherson4
- John Onians2
- Crawford Winlove5
- Adam Zeman15
Exploring the Mind's Eye: How Mental Imagery Affects Art
Overview/Introduction
The way we visualize things in our mind varies greatly from person to person. Some people can see vivid images in their mind's eye, while others can't visualize anything at all. This difference, known as aphantasia (no mental imagery) and hyperphantasia (extremely vivid mental imagery), can significantly impact how artists create their work. This study explores how these variations influence art-making and challenges the traditional views of art creation.
Methodology
Researchers conducted interviews with artists who have either aphantasia or hyperphantasia. They analyzed these interviews to understand how these artists describe their creative processes. The study included 18 artists, with 6 experiencing hyperphantasia and 12 experiencing aphantasia. The artists worked in various fields, from painting to sculpture to digital media.
Key Findings
- Diverse Creative Processes: Artists with aphantasia often rely on external references, like photographs or objects, to guide their work. They start with something tangible and let their creativity unfold through interaction with the material.
- Internal vs. External Composition: Hyperphantasic artists often visualize their artwork in detail before creating it. They spend time manipulating these mental images before transferring them to a physical medium.
- Artistic Diversity: There is no direct link between the vividness of mental imagery and the style or quality of the artwork. Both aphantasic and hyperphantasic artists produce a wide range of art, from abstract to highly detailed pieces.
Implications
- Challenging Norms: The study suggests that traditional views of art-making, which often emphasize the need for vivid mental imagery, are too narrow. Artists can be creative and successful regardless of their ability to visualize internally.
- Encouraging Inclusivity: Understanding that creativity can manifest in different ways may encourage more people, especially those with aphantasia, to pursue artistic endeavors without feeling limited by their mental imagery capabilities.
Limitations
- Sample Size: The study's sample size is relatively small and not representative of the entire artist population. More extensive research is needed to generalize these findings.
- Focus on Visual Arts: The study primarily focuses on visual arts, so the findings may not apply to other creative fields like music or writing.
In conclusion, this research highlights the diversity of artistic processes and challenges the stereotype that vivid mental imagery is necessary for creativity. By recognizing and embracing neurocognitive diversity, we can foster a more inclusive understanding of art and creativity.