Having presented the evidence and described the mirror-image processes; the task is now to understand and to establish the nature and extent of what has been achieved. Have we indeed discovered the cause or causes of creativity? How do the mirror-image processes operate, precisely, to produce creations? Considering the matter of arousal in the creative process emphasized earlier, what is the evidence for such arousal and how does it function in created products? Are there other qualities of the mirror-image processes, beside their arousal function, that lead to the production of creations?

Freedom itself resembles creation—it always consists of separateness along with bringing together or connectedness. As human beings, we are neither free nor independent unless we observe, and are mindful of, our contacts and connections with others and with nature. And we must be mindful of our intrinsic separateness, uniqueness, and individuality. When we glimpse the goddess emerging from the head of the creator, it must remind us of the nature of our freedom.

I will attempt to illustrate the psychological processes involved in creativity through the analysis of the creation of a poem.

As the mirror image of dreaming, creativity is one of the highest, if not the highest, kind of adaptive mental process. It is not regressive, irrational, a concrete type of thinking, or even a radically altered state of consciousness. The creator, in full consciousness, purposefully attempts to produce the most socially valuable products possible and he uses the highest mental function he possesses.

In order to show how the mirror-image process functions, its specific forms and operations, I shall examine further the creation of “In Monument Valley.”

Tells the story of the creation of “In Monument Valley”—the psychological story—to the extent that such a story can be told.

Because of a serendipitous finding from my research, I virtually was driven to begin to acknowledge a similarity between artistic and scientific creativity.

In the course of this narrative I shall provide a picture of the subjective side of creative thinking and the manner in which the creative process, for both the artist and the scientist as well as other types of creators, is the mirror image of the dream.

Presents experimental evidence regarding janusian thinking and creativity.

The simplicity of opposition is more apparent than real. For one thing, there is an important difference between linguistic opposition and conceptual or logical opposition.