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.

中文翻译：

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超越两种思维：创造力的认知，体现和评估过程

社会学和社会心理学的学者通常将创造力表示为一种富有想象力和蓄意的心理活动。这种观点导致了一种与身体，感官以及非分析性认知脱节的创造力观点。在本文中，我们证明了创造力更多地基于身体和感官体验，并且比通常公认的更依赖于认知过程的组合。我们使用关于社会认知和体现的文献来建立我们的论据，尤其是体现的模拟视角和三方过程模型。我们从精英厨师的数据中汲取经验，以表明演员如何依靠具体的模拟，在启发式和分析性思维之间不断切换，以及在创作过程中监视和控制其认知过程。