HYPNAGOGIA The Nature Function the Hypnagogic and of State by Andreas Mavromatis Thesis submitted to the Department of Psychology, Brunel University, for the degree of Doctor of Philosophy 1983 January jr vor Qa T) 4 IN. ---l 13 CHAPTER CREATIVITY: Hypnagogia has been to the related creative process in by Maury (1857, varying ways a number of writers. p. 164) "the ideas in hypna- spoke of spontaneous generation of Gurney (1885) "an immense high gogia, and of amount of Greenwood (1894) that in hypnago- creative work". remarked the faculties "lifted into higher gia all mental are a range of freedom". Crichton-Browne (1895) speaking of dreamy in them the mental states general compared with "flights Myers (1903) talked "a of genius". of general heightening faculty" in hypnagogia. Arnold-Forster of (1921, 149) that "at the to p. noted such moments answer difficult flash into Sartre some question... the may mind". (1978, 47) p. referred to hypnagogic "an mentation as ent- irely new way of thinking". A from Novalis quotation (Begouin 1939, p. 210) reads: "To dream and altogether not to dream. This synthesis is the operation of the genius, by both which activities are mutually reinforced". Varendonck (1921) reported that he had his conceived most original contributions to just before falling science Problem in hypnagogia asleep. solving has been also repor- ted by Kekule (Japp 1878), W. Scott (Beveridge 1950, pp. 73-74), Poincare (1913), Stanford (1977), Edison (Bernd 1978), Hadamard, Einstein, Brindley (Koestler 1981, pp. 116-117,183,211). To these be the 'informa- must added tional' cases referred to in the chapter on 'Psi', that is, the has to cases where subject a sudden solution a pro- blem is 'warned' impending danger. or about an Marsh (1906) found that literary most artistic and creative people were at their best in early morning and Green late Green (1970) Green evening, and et al and and indivi- (1978) pointed out that many outstanding creative duals have that their insights were asso- reported greatest (Miller hypnagogic imagery. Poems ciated with reverie and 1906; Prince 1952; Moss 1970; Coleridge: Koestler 1981), stories for (Caldwell: Stearn 1973), and whole novels (Leader been novels 1973: by Panati 1975) have cited -310- 311 in the hypnagogic-hypnopompic state. M. Twain, conceived 1911), E. A. Poe, R. L. Stevenson (Hollingworth L. Carroll (Panati 1975), Max Ernst (1952), Wagner Bradbury and (McKellar 1957) C. Lamb T. de Quincey (McKellar and and 1979b) known to have hypnagogic imagery are used as source Melville (1961) in his 'Moby Dick' describes material. tactile hypnagogic to Ishmael, a experience as occurring the in the (see Schneck 1977 for one of characters novel imag- discussion). Emily Bronte describes hypnagogic also in 'Vill- in 'Wuthering Heights', Charlotte Bronte ery and ette' describes what she calls an opium vision which she taking personally experienced not as a result of opium - she denied ever having taken any but as the outcome of - having thought about it on numerous occasions before sleep: "emer- "The itself", (1963, 141), McKellar vision p. reports, in the ged on one occasion after waking up morning". Brahms (Abell 1964, 19-21), Puccini Wagner pp. and (Gowan 1976) described hypnagogiclike trances as states they had their famous Keats wherein created compositions. had judging by his 'Ode to probably similar experiences "a Nightingale' the description a which opens with of drowsy the lines: numbness" and closes with Was it dream? a vision, or a waking Fled is that do I music: wake or sleep? - The be the Spanish Be"cquer same may also said of poet who, in his "I did but one of poems, wrote: not sleep wandered in that limbo the where objects change shape, mysterious tracts that from (quoted by Lewin separate waking sleep" 1969, 116). Of the besides Ernst p. modern painters, already referred to, Dali is known for his use of a well hypnagogic both method of relaxation as a means of relax- inspiration. His full hypna- ation and paintings are of gogic imagery and one of them bears the title: "Dream caused by the flight of a bee around a pomegranate one before Similarly, Oster (1966) has second waking up". pro- duced based his hypnagogic a number of paintings on phosphenes. hypna- Edison is said to have made extensive use of (1978) ideas. Bernd gogia as a means of arriving at new 312 that reports Edison to hard in his used work very research at - beta, the faster brain frequencies. Then wave when he would reach a 'sticking point' he would take one his famous 'cat He doze in his of naps'. would off favourite holding balls in the chair, steel palms of his hands. As he fall driting into would asleep - his lower, letting the alpha arms would relax and - balls fall into the floor. The pans on noise would Edison, he wake and very often would awaken with an idea to his continue with project. (Bernd 1978, 28-29). pp. Bernd follows the the "what above report with question: this have done if he had known how to might genius use levels falling to alpha consciously without asleep get there? " (p. 29). Attempts to have answer such a question involved the to brain relating of creativity alphoid waves and hypnagogia. Elmer Green and his co-workers A. Green and D. Walters have directed their attention specifically to this problem. Using autogenic feedback techniques, they have set "to the out study general processes, conditions, and con- tents during deep of consciousness a state of reverie. This combination of reverie and awareness seems to be an (though ingredient essential maybe not sufficient) of crea- tivity" (Green, Green Walters 1970, 21). They drew and p. to the following attention considerations: (a) the link between existence of a or relationship in the brain alpha-and-theta-rhythms wave and reverie- and-hypnagogic-imagery, and to (b) the existence of link between a or relationship reverie-and-hypnagogic- imagery and creativity. It be inferred from the can juxtaposition above that the areas of alpha-and-theta- rhythms and creativity may indeed overlap, and that in training the production and control of alpha-and- theta-rhythms may make possible an enhancement of in individuals is creativity whose potential yet unrealized. (Green 1970, 11-12). et al pp. Earlier they "hypnagogic-like imagery" the on speak of as for "sine qua non of creativity many outstanding people" (p. 10). They define "reverie" "a inward-turned as state of internal (p. 10, 3) abstract attention or scanning" note their the term "hypnagogic- and explain use of qualifying like" instead hypnagogic "because were of our subjects 313 trying to than to remain awake rather go sleep" (p. 12, note 6). In "a pilot studies with professor of physics, a psychiatrist, and a psychologist, all of whom are uniquely individualistic, in creative, and successful their respec- tive vocations" (p. 12, 4). Green his note and co-workers reported that their demonstrated "an subjects unusually high percentage of 6-8/ Hertz waves in their EEG records during periods of deep reverie" (p. 12). Two of them showed long trains theta in of hypnagogic- waves conjunction with like imagery "which they said was customary in their inter- nal scanning experience" whilst the third managed to lower his alpha rhythm to 8.3 Hertz "during 1-minute trials and reported this imageless as a preliminary mind-quieting in stage moving toward deeper (p. 12). a state of reverie" In follows what I the shall examine general concept of creativity and point out what are thought to be the nec- essary and sufficient for conditions creative activity. I shall present cases inspiration of and creativity occur- in the hypnagogic-hypnopompic ring that state and argue the latter contains some, and sometimes all, of the nece- for ssary and sufficient conditions the emergence of crea- tivity. I shall also relate schizophrenia to creativity and argue that the state of hypnagogia is their natural meeting place, so to speak, and that the study of the lat- ter throw light can on both of the former. I shall main- tain that the necessary for and sufficient conditions to be discussed creativity functions loosening are of the boundaries of ego which is defining feature hypnagogia. a of The literature be divided on creativity may roughly into the following areas characterized by different res- earch orientations: (1): Personality traits, identified abilities, and attitudes 314 in individuals (e. Meier 1939; creative Wilson g., et al 1953; Angyal 1956; Barron 1958,1963; Lowenfeld 1958; Whiting 1958; Hilgard 1959; Fromm 1959; Rogers 1959; Guilford 1959,1962; Maslow 1968; Drevdahl Cattell and 1958; Mooney 1956; Mooney Razik 1967; Abdel-Salan 1963). and (2): Research into the creative process per se. This may be divided into sub-groups again characterized by theore- tical orientations suggested by evidential Hallman reports. (1967) has identified three They such areas. are: (2a): Creativity (e. as a series of chronological stages g. Dewey 1910; Wallas 1926; Rossman 1931; Poincare 1913; Montmasson 1931; Patrick 1937; Spender 1946; Hutchinson 1939,1949; Ghiselin 1952; Vinacke 1952; Hadamard 1954; Arnold 1959). This is by Wallas's (1926) view exemplified incubation, preparation, inspiration, evaluation stages. (2b): Creativity "an interchange as of energy among vertical layers of psychological "as the systems", e. g., primary and secondary processes, the the autistic and reality adju- sted, unconscious mechanisms and unconscious deliberation, free bound and energies, ten- gestalt-free and articulating dencies" (Hallman 1967, 17). Besides Freud (1959), p. other proponents of such view include Schneider 1950; Ehrenzweig 1953; Maslow 1959; Murray 1959). (2c): Creativity as types of thinking distinct which are from non-creative ones. Thus, is inte- creative mentation grating, synthesizing, relational, fusing disparate of elements. Hallman (1967, 18) p. summarizes this examples of "Spearman view: (1931) to refers thinking the creative as education of correlates; Vinacke (1952), imagination as than rather voluntary, rational Bartlett (1958) operations; divergent as autistic thinking distinguished from as closed Bruner's book systems. On Knowing (1962) the makes same distinction". (3): Training for creativity, by 'synetics' (e. e. g., g., Gordon 1961), 'brain-storming' (e. Parnes 1962; Osborn g., 1963). (4): Studying creativity through hypnosis (e. Krippner g., 1964; MacKinnon 1964). (5): Creativity in (e. Mearns 1925; Getzels education g., 315 Jackson 1962; MacKinnon 1962; Torrance 1962; and Parnes 1963; Cattel 1968). Hallman (1967) has identified five for criteria crea- (a) tivity: (ß) (y) connectedness, nonrationality, origi- (b) nality, openness, (E) self-actualization. These he to be the considers necessary and sufficient conditions of creativity. I shall examine them below and argue that, with certain qualifications in respect to (y) (C) these and features in hypnagogia. are present Connectedness 'actualized' and metaphors: The Hallman criterion of connectedness, which, as points out, employs the category of relation as a principle isolates of explanation the and relation of similitude its basic feature, as has been by proposed a number of described it workers who variously as combinatorial acti- vity (Bruner 1962), fusion (McKellar 1957), unexpected con- from nections resulting unconscious symbolic activity (Kubie 1958), is compositional activity whose outcome a new object, experience image (Murray 1959), or new config- (Ghiselin urations 1952; Arnold 1959). Hallman (p. 19) that "connectedness argues comprises relationships which are neither symmetrical nor transitive; that is, the newly created connections as wholes are not to the being equivalent parts Neither connected. side of the implies equation validly the for the other, relation- is inferential ship neither it is nor causal; rather, meta- transformational". phoric and The feature of connectedness in is to be creativity found in all areas of human intell- activity: perceptual, imaginative. ectual, In respect to hypnagogia it is the encountered as fusion (i) form of relatively relevant components to a com- in Galton's (1883) posite, as and Katz's (1948) photographs (ii) disparate belonging to and apparently elements ent- irely different The matrices. mechanisms of this activity be in the "contrary imagina- may present waking state as tions" divergent thinking (Hudson 1968) but the or quality 316 fusions in hypnagogia is (Leroy 1933; of considered unique Rapaport 1967a). In to (i) there the regards are numerous reports of hypnagogic images experiences which contain unrecognizable whose parts are, nonetheless, recognized as belonging to imaginative being 'like' past perceptual or experiences, as but dimensions; something already experienced with added that is, in Hallman, "the agreement with newly created con- to the being nections as wholes are not equivalent parts A in here is that Miller's connected". case point of (1906). She how relates one night she experienced and wrote hypnagogic drama "Chiwantopel". Lying in bed a she called "[I] had the that with closed eyes, she writes, sensation I was waiting for something to happen. Then I felt a great I impassive (p. 48). relaxation and remained as as possible" There followed the familiar hypnagogic "lines, mosaic of sparks and spirals of light... [and]... a kaleidoscopic fragmented and review of recent trivial events. Then came impression the that to be something was about communicated to me". There appeared the figure Inca, of an complete head-dress, with who bore the name of "Chi-wan-to-pel", which Miller heard spelled out syllable by syllable. Round this character raged a battle and the cries of "wa-ma, wa- ma" were heard. There followed other scenes, and the little drama Chiwantopel's dying ended with monologue which was delivered in English for the last except words which were: "Ja-ni-wa-ma, Ja-ni-wa-ma" for "You and stood will under- (p. 50). stand" Miller attempts to her by explain experiences refer- to ence previous wakeful believes ones which she probably provided the various elements that eventually came together (fused, in hypnagogia combined) and unfolded as a new, drama. Although does to self-contained she not attempt the the Inca-like "wa-ma" explain genesis of neologisms "Ja-ni-wa-ma" that"Chi-wan-to-pel" and she suggests have been the lines may subconsciously constructed along "Po-po-cat-a-pel" American of a central volcano whose name familiar Other she was with. elements were also condensed 317 before in and rearranged unconsciously emerging their new form during her hypnagogic But, impor- experience. more tant, she explains that during the days before this exper- ience "had been for inspiration, for she searching an orig- inal idea" (p. 51) "mosaic" that this the and was outcome distant brought together by this of and recent experiences Interestingly, Miller's this need. explanations of and her hypnagogic other of experiences were given out as an interpretations argument against possible spiritualistic of such events. This, and the presence of neologisms, clearly point both to the close relationship that may be between seen as existing psi, schizophrenia, and creativity to the fact that hypnagogia the and constitutes meeting the frame place, or general of mind, wherein such states may naturally make their appearance. Koestler (1981, 167) that Coleridge's p. suggests "Kubla Khan" "in intense day-dream hypna- originated an or gogic state... some intermediary kind of 'waking dream'". Coleridge himself that noted Ideas images and exist in the twilight realms of con- sciousness, that half-being, that shadowy state of nascent existence in the twilight imagination of and just the on vestibule of consciousness, a confluence of our recollections through which we establish a it centre, as were, a sort of nucleus in [this) reser- the voir of soul. (cited by Gerard 1946, 481). p. Moreover, Coleridge (1952, 84-85) that pp. also stated prior to having the Kubla Khan "in the ima- experience which all before him ges rose up things", he had been as reading 'Purcha's Pilgrimage' Khan Kubla's where palace and stately described. garden were Thus, to borrow Lowes's in words analysing another of Coleridge's 'The Ancient Mari- poems, this hypnagogic "facts int- ner', on occasion which sank at ervals out of conscious recollection drew together beneath the through surface almost chemical affinities of common Beneath the lie... innumerable blendings elements.... poem fusings impressions, brought below the level and of about (cited by Gerard 1946, of conscious mental processes" p. 481). An to Miller's Coleridge's but experience similar and 318 is described by the hypnopompic end also one occurring at (1952) She writes: Prince's subjects. of four in between three time and I woke suddenly some the morning. I was perfectly wide awake and conscious of my surroundings but for a short time - perhaps two I this or three minutes could not move, and saw -I I as such. vision which recognized 1952, 204). (Prince p. depicted The "extraordinarily clear" a vision which was tender love between a man and a woman set against scene that The she "a subject notes sort of rosy atmosphere". the did at the moment of seeing not experience any emotion In that it down, in verse, at once. vision and she wrote had and the next morning she read over what she written She the presented "was the language and rhythm". amazed at it Again, as the poem to Prince exactly as was written. in Miller's case, the subject notes: I had been trying For two three days or previously deal to had been reading a good write some verses, and in I had also I had been thinking rhythm. of poetry. been strain under considerable nervous and emotional facts for little time in to the por- some reference in trayed the verse. (Prince 1952, 206). p. Time Einstein's basic insight into the relativity of he bed. And, came to him early one morning as got out of Koestler (1981, p. 183) remarks, that sudden moment of as truth had been preceded by ten years of contemplation on intense the Likewise Hadamard's (1954) long and subject. He in hypnopompic illumination. thinking culminated a writes: for its One is I abs- phenomenon certain and can vouch immediate the appearance olute certainty: sudden and of a solution at the very moment of sudden awakening. On being very abruptly awakened by an external noise, long for to me at once a solution searched appeared the slightest instant of reflection on my without have fact to struck the was remarkable enough part - direc- in different and quite a me unforgettably - tried tion from any of those which I had previously follow. to (Hadamard: 1981, 116- by Koestler pp. quoted 7). 1897, 11- Lamberton (Newbold pp. In a similar manner, "bogged" had that 13) the of a problem solution achieved it. intense thinking over him after two weeks of analytic