Research in Creativeness: What Can It Tell Us About Extrasensory Perception?

Reprinted from the Journal of the American Society for Prychical Research Volume 60 — January 1966 — Number | RESEARCH IN CREATIVENESS: WHAT CAN IT TELL US ABOUT EXTRASENSORY PERCEPTION? BY GARDNER MURPHY

Research in Creativeness: What Can It Tell Us About Extrasensory Perception ?” Garpner Murpuy I There are relatively few aspects of psychical research that ag knows very much about, so it is an easy topic to talk about. It is one that I enjoy tossing before you like water that needs to be acrated in the hope that you will see here and there little issues that most of us who are professionals in this field are blind to. Now psychical research, as you know, is not a new field: a serious, organized psychical research is nearly a century old. But the problems are slippery, largely because they still lie beyond the fringe of science just as they did in the ‘eighties when this work began. And when the phrase is used, as it sometimes is, “psychic science,” I don’t think it helps us to elevate ourselves ta 5 scientific ienid: it cannot be done by any verbal magic of this sort. Certain disjecta membra, odds and ends of little apparent facts, don’t et Game oe Pe ge age honest to oy, as “psychic umscience.” Pp a> try to find laws or principles and then to be patient and gentle and not dogmatic as we search for confirmatory methods of one sort or another, A good many of you may know that we have been concerned for a number of with the nature of human creativity—artistic, musical, ; gee and inventive creativity, and social and political skills of many sorts. We are concerned with what it is in us that does more than merely redefine the old fragments. What is the nature of the creative process? Some of us have had a very strong hunch that what gives rise to the creative act has something in common with what gives rise to the “‘creative act” which we occasionally find in eng heroes particularly in spontaneous paranormal experiences. Mark Twain, Swedenborg, Lincoln, Goethe, and many other celebrated and highly creative men of the western tradition have had dramatic experiences fulfilled in great detail Bids Many of these experiences occurred under harrowing personal circumstances and had to do with trage- dies which had an T chjactive hanie ot = diutiace ex tae Aone Gee. I mention these y as an illustration of cases where we strongly * This paper Professor M of the held on eee SS eee” urphy at a meeting Society Research in Creativeness and ESP 9 IE Srsaruscresel Qocenasioco-iispecesoon not cusiiy- om. OES ocean pcos not easily ex- = mere <i mg tibility or lucky shots. the Ittleson Family Foundation of New a oaMe. oi Alan Scaife of Pittsburgh to the Menninger Founda- tion, utilized at a number of different universities and at the ASP.R., have notably helped us in our study of the conditions in the lives of creative persons that may be related to : impressions; have made it possible for us to make a big start in finding what relations, if any, there be between extrasensory perception and the like on the one ration the other hand T have already had something to say it the data beginning to come in (11 lam going to pursue this theme somewhat more fully tonight. ‘Totake the first step in the path I am going to tread, I will ask this ea? Ave we What do we really know about extrasensory we beginning to find any general principles that Site teers or laos: oesteina’ either in taneous cases or in cases where the investigator a chance to control more precisely and (ideally) to describe and measure the outcome with his experimental procedure? I think we may say that we are IITs ears of cchorente tins tare pciocigtes’ oheet, ae ily pevcepcicn aco rather vol y Lig yr be 3 on the nature of human creativity. These three prin- which I believe are quite clear-cut, are the principles of motivation, relaxation, and dissociation. i tietapstinition t myetna: doen, sttong; Seat cxind:tn snake contact with the distant material—material distant in space and sometimes in time—which cannot be reached through the normal sensory functions. I would not be willing to say that I have any idea at all what the energetic basis might be for such paranormal communication, but I do at least say that these are types of per- ceptive function that no or physiologist can define in terms of the senses. This we can be reasonably sure about. And I can say that just as motivation can make it easier to perceive Normally—when you are working your way, let us say, through a fog or heavy drizzle you may be able to make out the contour of a ME casvotaasedins toate doe ote oo abe con radhe-t ee Ce ee tHe tt cases. In the case of Twain, for example, which I Rie iaberred to , it is obvious that Twain's devotion to his young okie had ev very powerful effect in etching in the details of his MEE Asaphitive coum concteding the bors trigic death in the

10 Journal of the American Society for Psychical Research se sac vlaceat teatioert (13, pp. neon These on’t happen in a motivated way. Why did I cry refesedion? lnceolee oc all tn west cies hachoce done giving ESP subjects caffeine and benzedrine sulphate, and seep regan pa esate ean ee te ec becomes clear that the moments of richest paranormal rience and the richest creative moments are moments of profound relaxa- ee eee eer But I would say that such as muscular relaxation, the changed electrical conductivity of body, some of the alterations in brain-wave patterns, and other changes for which we have pretty good measures today, seem to be related to various types of relaxed conditions. One recalls the story of Archimedes leaping out of the bathtub crying “I have found it, I have found it!” because he had solved the problem of determining the amount of gold in Hiero’s crown by a sudden inspiration that came to him. And we are not surprised that when he was in a nice, comfortable, warm bath and taking it easy he was able to do he couldn't do in a highly concentrated state. The great physiologist pcre used to say that he worked in his duri and then after lunch he would take a walk in the sidetbety hills and suddenly the answer would me See ee ee t are usually the result of a long incubation period. You will fs in Joseph Rossman’s book (14) on industrial invention evidence that a every case that looks like pure, — tion had a long preparation, a long period cohen We do auckaow with saving tk like certainty that there is a similar unconscious re phase in telepathic or sa paranormal occurrences. But in any case, passivity seems to be a orem peg abt orter ag ivity by an act of will? dinarily not. In the Far East there have long existed arduous techniques for the creation of this special type of relaxation. In the West, we associate this with hypnosis, and nowadays with the ils dhat ant ule the tenor pdoahat weaaian! crane r= Aig and also the more powerful so-call ic It becomes apparent that there is something missing, however, ig ne me to ¢, the principle to the fact that the a focsine sealty weak, ieee through.” It is not a relaxation ; rather, there is a part of the mind which is actively concerned and all the rest is like a lazed surface, like ground glass, and capable only of a passive and Tiagusented type ob ecniviey: If devices like hypnosis can dissociate or split the mind, allowing part of it to become enormously focused Research in Creativeness and ESP 11 ce rant Delete hebiad thie Wi eepeeeiy tee the creative state and a state conducive to paranormal. Aa Rhea White hs recently pointed out (17), there i good evidence that we lose much of this by the rapid-fire “star-cross-star-star- STE sicsiol ceapcene thet seaio people: like to make in.on BAP test as contrasted with the slow waiting for an image to etch itself in the mind. It should also be said that another thing we don’t know much ne nea nee eee ae ity to the activity that I mentioned a moment ie. tareciicr-Spens detedan of in lle washings err the Bite a summarized in the phrase “active versus sf lpaaia y (16). There is not only this receptive process that I have been trying to describe; there are also a few cases—G. H. ’ experiments at Harvard (4) are a pretty good example— in which there appears to be a preternatural focusing on the part of the agent, a tremendous effort to get an impression across, as if there were almost a bombardment of the mind of the distant receiver going on. How is it possible to describe in passive that which comes sometimes with this tremendous blinding pi aocldcenind you apuin that the cave of tao create genius the sudden insight often exemplifies the principle in which is intense, explosive, violent activity with deep passivity. Osis has been working on this intensively in connection with studies of highly original and creative painters, sculptors, and others in connection with his recent research with of the Ittleson Family Foundation, and it helps to — that there is both activity and ey sprang De ary eee mgeme stew ‘om the study creative regarding passing to the vigorous, from the active to the passive. Bis II If you will t this as a halting the ites os know about ESP, ser Sh by the terms motivation, relaxation, and dissociation, then you are ready to go on with me to the exploration of some further questions: What do we tion? What are the _First, it is necessary to contrast and differentiate effectively the Mi which I have just described from ordinary tion, “falling apart.” We can find plen ee se and in the p and neurotic, in from the character comune aileaieetank date et that the ing of an account of iH

12 Fournal of the American Society for Psychical Research fiesh is heir to. We only need to get very tired or overwrought or confused or frustrated to show a good deal of dissociation, but this doesn’t automatically make us either creative or paranormal. Of course, it is true that here and there a paranormal impression may ride in on the wave of morbid dissociability. As mares ss 4 “Great wits are oft to madness close allied.’’ And he might have gone on to say that the paranormal is allied, at times and in certain people, both to the creative moment and also to the disturbed or upset moment. But it isn’t very useful to say that dissociation is a SEC" Sam ig eed Gelced how atounths xulliec obetcainlitnre cl dae ipctciielel thes have been given? How can these abstract principles be made more specific ? In the case of motivation, perhaps some types are effective and other types not effective. Nearly twenty-five years ago | published an article (10) in which I tried to show that although motivation in general is a useful principle, you have to go to work and specify the different kinds of motivation and offer some sort of decent evidence that each of these is relevant. Take the everyday gain or moncy motive. One hears of cases concerning people playing the numbers or roulette or the one-armed bandit, or whatever one does—dramatic cases of apparent successes against staggering chance odds, It doesn’t help us very much unless we can say how or money motive actually operates because many people have almost broken themselves on the wheel by this kind of activity. No one can tell you that this sort of hazard auto- matically mobilizes an effective gain motive. There are many other motives—the love between man and woman; the love of parent for child; the love of a man for his grou his country, his religion, or for humanity. It is one thing to talk about these principles a2 useful and another very different thing to make them so clear and simple that you can say the success in such-and-such an experiment 5 ea epee Rah iE EN Ninel ppm ure in another experiment in inadequacy of comparable motivation. These abstractions are very desirable, but science doesn’t consist on the one hand of little fragments and on the other hand of vast, impersonal, almost nameless or faceless gencraliza- tions. Science has to have all sorts of intervening steps of generality; cases thet hold for s particular type of experimental situation and which predictably give that kind of result whenever the same conditions are i . I think that the three principles mentioned have worked out fairly well, but that is all that can honestly be said. One particularly notable deficiency in our work to date lies in the lack of adequate discussion of the social situation. We have in Creativeness and ESP more cE IE dR No» the last that the human behavior which we t was a p result of the contrived situations in the laboratory "except when a particular atmosphere is created b ter and the cooperating subjects who are laboratory creates its own special atmosphere and this sorts of subtle ways. It has been remarked that the ive behavior, the philosophical behavior, found in Ge was almost never found in American rats, which came to the trial-and-error solutions mage of them by test comparative ologist in is country, owed that geste compa mors were trained at Berkeley never could come up with the kind of data expected in the University of Chicago lboruory (13) The implications of this can be carried We have to recognize the i of the atmosphere— ME ithe: var el ak anos so at the human level— ip rlaae adherent di. amt! Baca eS io AA mean, of course, that there is this atmosphere; it may be just little hints and clues pagent around to indicate what would be a “good” result. The hypnotists have known for a long time that they don't have to say overtly what the subject should do; if there ia some sort of hint in the atmosphere, he is pretty likely to pick it up. And from this point 5 2 i if S@ F i A He ef : Hi 3 egies of view, we are beginning to that “good conditions” for paranormal results lie rather largely in the poorly specified factors of the experimental atmosphere. Of course, these difficulties, however large they are, still become foie dewacimnanens ar ln ae cha you lay down three general es such as I have des- tae coe lannediamaly shiek of sombody effects in reverse English. This seems to be like the “dog effect” or the ‘‘cat effect” in working with such as opium, which should be expected to have a certain effect, ted you gt the effect. cneeeyeee living organism is just com in’t Sierhle serpsbd it come of yoo wth & lazls bis of nagucivion in your nature or a little willingness to protest handed in a very y

14 Journal of the American Society for Psychical Research —the rich, complex panoply of personal relationships, the things sjeldionteknow about cursive orabout ous frleade- these things can crowd in and reverse the sign, can give results quite different from what we expected. My generalizations are like most generaliza- tions in the life sciences, and psychology gets the worst of its ee ee it gets all the irregularities and unp ilities that you get even in physiology and biochem- istry; and then on top of it gets those the social sciences ka RY eter petty mae oer differences. anybody who attempts to make parapsychol Il At this point I would like to remind you that even in the physical sciences it has taken a great deal of patience to work from observa- Dreineaten aa ne Dae the elevator at the Men’s Faculty Club at Columbia when d time we left the ground floor and got to the fourth floor, he had given a complete answer. He said, “Yes, you get an interesting result and you take pains to repeat it exactly. You do everything the way you did before and you don’t get the same result. And then you say to yourself, ‘Ah, I made a little error here and I overlooked something.’ And then you change it so that all the little untidy quirks are ironed out and then you do the experiment again. And a a AE SRA ART CA lL and repeat the first experiment again, and you don’t get the same results.” And this is the way the Nobel prize we have a science here and should expect to get the same results mlb nae gma AES lea to get as much uniformity and order as we can. We should not in rather in psychical research. The creativi le coul have helped us a great deal on this problem if we them even more seriously than we have because occasionally Homer nods, and sometimes quite often. Not every one of the thirty-seven Shakespeare plays is a » immortal, and tremendous achieve- Research in Creativeness and ESP 15 puerilities in Charles Darwin’s Origin of Species, perhaps the most important book of the nineteenth century, you come to the conclusion that it isn’t only now and then that the greatest geniuses are shot through and through with what seem to us pretty serious Now, if this is so, it puts the burden on those working in crea- tivity to find the source of these anomalies and these vagaries, as well as the source of the continuing strength. I think that Freud, and to some degree Pavlov, us a great deal in tryi to “esac a oe ae of mental activity. Freud d with his concepti primary process—the most primitive, “Tiftuse, highly unstructured, creative process that appears a great deal in early childhood and in all of us in relaxed and dissociated states, in , and so on; and with his conception of the secondary process, which deals with reality by roundabout methods when we find that we cannot have our wishes by the quick and casy | pregtee ape dapdape es nad sagt i 4m with the tough reality to which we must adapt. And Pavlov before a particular mastery of the third dimension is achieved by pain , or whatever it may happen to be. There is a role of discipline imposed upon the primitive, primordial fury of the Sitter this caine of ould tha rom this point of view, we w expect that at every point there would be an individual life history; we would expect to look at creativity in terms of the development of the person. And the biographical and autobiographical studies of creative people have taught us to use this genetic method, this developmental method. It seems evident that we should also look at the paranormal in or autobiographical studies of the great sensitives or i ern gree mana ck cnr knvrentigationty weiner coseesies cases or laboratory studies, we don’t ask about the life history ee ee ee the knowledge of creativity to an understanding of the paranormal processes as we get them in the life history

16 Journal of the American Society for Psychical Research which we collect in spontaneous cases and as we get them in labora- This, I ink, points up sharply the need for using a method that the student of creativity automatically uses—the method by which you look for exceptions rather than simply confirmations of a law. In science we have an idea that the way to make progress is to get hold of a principle and then keep on hammering, solidifying, and standardizing it until we get a law that Kurt Lewin beautifully described as ing “e: i validity” (7). This is a magnificent phrase, Sci secks “‘exceptionless validity.” But it might be worth while to do what has often been suggested by the students of creativity, and that is to deliberately set up a primary frame of reference from which to look for deviations and digres- sions. It might be wise to see if we can find out under what condi- tions the subject or a group of subjects defies what we easily think to be a common principle. IV This leads us to another very important forward step that has been su over and over again, but we haven’t acted on it. It sciences did that. Geology, for example, couldn’t do it. Astronomy couldn’t do it. We can’t take an eclipse into the laboratory for experimental purposes. What we have to do is go to Sumatra and have eleven minutes of observation of the eclipse and come back with plates and perhaps spend several years working them up. But we can’t experimentally control nature in the sense in which the physicist thinks he does. In this sense then, it may well be that ical research has gone much too far in the attempt to model its ic methods those of the supreme experimental science of physics. It may be that the “‘case history” method, as you have it when the geologist studies the Grand Canyon or the astronomer studies the great Sumatra eclipse, where it is necessary to spend years preparing for and years following through on i which Nature gave, is a better model for psychical research. It is also quite ble that a better model would make relatively little of the uni ities and would be more radically individualizing than we have found a way to be. Gordon rt of Harvard has talked a good deal about the two ultimately different aims, as he a ee ee “ideographic,” and a generalizing aim, which he calls ‘“‘nomothetic” Research in Creativeness and ESP 17 (1). These are, again, reasonable ideals. But in psychical research we haven't pushed very far; we haven’t individualized our knowl- edge the way the student of creativity has individualized his knowledge. v I think also that we have been inclined to neglect very small units of time. I believe this to be so very im t an issue that I feel most investigators have been rather , rather opaque, to it. It is quite likely that if we shorten a time interval way down to very much less than a thousandth of a second, we will find some events that are very interesting from the point of view of the physical universe. In psychology we do have instruments which can measure a thousanth of a second in reaction time, for example; but for the most part, in terms of the way in which the human organism functions, we don’t get down to the measurement of these very tiny split-second units. It may be that something analogous to an electron microscope for the observation of very tiny psychological time units might make possible a break-through to an under- standing of these explosive flashes of insight that the student of creativity talks about. It is possible that creativity and the para- normal both are a matter of what happens when there is a complete break into the heart of the time process itself. Time doesn’t necessarily go on and on flowing like Niagara Falls pouring down a cliff; it may well be that this assumption about time—its laid-out uniformity, every second being just as long as every other second, and so on—this way of thinking of a continuity is missing some of the explosive realities encountered. It may be a matter of getting out of one time dimension and then getting back into the ordinary dimension again. And it may be that more monkeying with the time dimension imen’ and looking closely at the explosive features of both the creative and the paranormal might give us valuable insights about both processes. VI I am inclined to think that we make another naive assumption that holds us back in using know of creativity as it bears ESP; this assumption has to do with concepts isati As I have already said, we are not satisfied if we are that the creative mind is simply one that recombines familiar parts. If I were to tell you, for example, that Beethoven's composi- tions were after all just of tonal values, that the western scales give us all these values, and that anybody :

18 Fournal of the American Society for Psychical Research who took the time could make all the possible tonal combinations, you wouldn’t believe me. Nobody believes that even a millionth of the possible combinations be worked through in a life- time—or even if they could by some super-computer that this would have any bearing at all on the incomparable beauty of the Missa Solemnis! In the creative act there is something much more than the mere reorganization of bits and pieces. Now, what is this oo An a aa eC aE A - ology, a psychology that splits things into pieces, a psychology which makes it easy to see how you can play a sort of game of Chinese checkers, or whatever, where you get your marbles across the board faster than your opponent does by following the rules of jumping. But somehow we don't really believe that this is the whole story, and we have begun to notice in some of the physics research of the last half century—the physics associated with Max Planck es i it rer there were some events that reorganize ves all at once. You can imagine that a tennis ball turning itself inside out in a fraction of a second snipping up the tennis ball and then sewing the pieces together PG SIG RET RS ee NI IH some altered conceptions of time and space that may be useful in understanding how we get outside of the ordinary spatio- temporal frame of reference to get to another point in and time. I suspect that we are going to have to deal with the philosophy of time and space and with empirical studies of sudden, explosive ization; and we will have to mean something more by reorganization than we have ordinarily meant in the piecemeal! definitions that we have had so far. VII As far as a fresh blast of wind to give us a lot of new material is concerned, I don’t know of anything to compare with the so- called “peak” experiences that have n described by A. H. Maslow (8, 9) and a number of others. These are experiences which are creative in a somewhat different sense from all that I have been describing here. We all know how every now and then the world seems suddenly different. It may be possible to describe some of the reasons, but to catch and hold and look at for a moment what is involved in this complete and utter change in outlook is too much for most of us. Many years ago Dr. R. Maurice Bucke wrote a book with the extraordinary title Cosmic Consciousness (2). In it he talked about how persons might cease to see the world in familiar terms and might identify with or become one Research in Creativeness and ESP 19 with the world in a new sense. Apparently Bucke, while riding in a cab, suddenly had—maybe lasting for a minute or two—one of these experiences. It became a lifetime center of concern to him and he gathered the stories of some seventy-eight people who had experienced what he called cosmic consciousness. Some of these Religious (6). And the little group of le in Menlo Park in California who have been working on c drugs (3) have made the point that in the course of their investigations they have come across experiences which are extraordinarily similar to result in writing seit “emma ws mci Da _ Rarmagege tier oa hey are creative because, as William James said (6), they lead to a new way of construing, a new way of izing, a new way of making sense out of the universe. But doubt at all that because we are a little bit afraid Gee onunny wets la t their importance. Now, although I don’t i ee ea eae ee ee ee number of honest and serious efforts to do so. I think in many cases you have the feeling that you are getting near to sha ing the experience. If you yourself have had such experiences, you “catch the lingo” of who describe them; if you have not, you can at least work up toward the anteroom in which you can make some sense, some picture to yourself of what may go on in the holy of holies of the inner experience. And that is exactly what Maslow (8) says about some of his own peak experiences. They cannot be perfectly communicated, but something can be said which others may begin to catch, as it were, from an anteroom outside of the I myself have never had a full-fledged peak experience, I have found that by reading and comparing and meditating and “ga ae YA i sn apts teehee ira: mental analysis, I ve come to the conclusion that these experiences are a very important way-station, or bri :, that may carry the serious investigator from the world of creativity to the world of the But this will be true only if generous allowances are made for the i ies of human verbal description. There is no doubt at all that the experiences and the creativity description of telepathic, clairvoyant, and precognitive experiences : can a :

20 Journal of the American Society for Psychical Research is mostly quite crude. Once we get beyond the measurement of the of success which a person achieved in a card-guessing test, w is a rather superficial and external approach, and try to down what is really happening to the living organism, our becomes pretty SAGE Tsocmld-ony- that gast-of the reason for this is that we have been so anxious to be mature, stiff, serious, not-to-be-laughed-at scientists that we have swept under Se et ee ane ee eee we rather ike about the states in which the occurs. There is a deal here that doesn’t sound like an astronomer working with a reflector telescope, a good deal that doesn’t have the hard, tough, scientific aroma about it. And I think that the attempts of the investigator to do the best he can in terms of modern scientific criteria and at the same time to respect the whimsical, chaotic, childish, romantic, ineffable character of many of the things he comes into contact with is a primary source of our difficulties in carrying over from the creative to the paranormal. Recent investigations of highly creative people have shown, for extmple, that yory ‘often they-fiad'that to try so talk to an experi. mental psychologist in the kind of that the latter would expect to use in his scientific publications may involve a certain travesty of the inner experiences and feelings which they are trying to express. Vill I am going to emphasize one fancy of mine for which I have geacticadly ne seocnitiselsiehne andl Oat-Giieah oomeaitan't het that it is not the motivated state, not the relaxed state, not the dissociated state in themselves which are conducive to both high creativity and high paranormal success, but rather a rapid movement, say, from an unmotivated to a motivated state; or from a relaxed to a highly active state; or from a highly integrated to a very dissociated state. And I have used the crude analogy of cutting lines of force, as an engineer would tend to think of the matter; it may be that we exploit energies as the result of a transi- cer tthiaaraied prensa RE me pad is poi view, it may be that a cardinal guideline was thrown to us many years by William Ernest Hocking of Harvard, who wrote on what he called the “alternation principle” a sone ied gone Spe apse meape eo Areas se in eG ietzsche’s book Thus Spake Zarathustra had to go off to the high jestc¥ in: coder to.come bank toshinse with the atuisieude, Aistate of absolute passivity and serenity and receptivity is not in itself enough; but the clue may lie in the impact which is made when Research in Creativeness and ESP 21 one passes from this state to one of enormous intensity and activity. A great many creative persons have tried to describe the enormous energies which came to them when they were able to cut through the “lines of force” and pass from a low level to a high level or, as some of them would say, from a “negative” to a ‘ ive” state— the language is all very unsatisfactory. But the point is that they made a clean break into something new. I have posited all along that there is something really here that involves similarity between the clean break of the creative person and the clean break of the sudden telepathic or clairvoyant Or precognitive impression. I am suggesting that there are many err aphebringep netmapr tele saeghan be literature has begun to show us which is worth putting to work; and nothing more obvious, I think, than the Hocking alternation principle; that is, working in psychophysiological settings in which you pass your subject from one state into another as a part of your experimental control. In the case of your ESP subject, you would define, just as you would for your creative subject, what his cultural milieu, his y, his friends, the immediate personal pressures upon him, the kind of world in which he lives. What kind of a dynamic, sudden shift from one state to another would be likely to precipitate the high paranormal moment? I sus- that work on this problem will show us that already the iographers and the writers of autobiographies, diaries, and so on, IS. tga cert ig ae tcp mpl that very possibly in the next era it will be the study of this alter- nation principle which will enable us to sce how a perfectly ordinary world of contact with the immediate sensory environment may be transferred, transposed, and transfigured into another kind of world in which paranormal contacts are made. REFERENCES 1. Attport, Gorpon W. Personality: A Psychological Inter- pretation. Boston: Houghton Mifflin, 1937. 2. Bucxe, R. Maurice. Cosmic Consciousness. New York: E, P. Dutton & Company, 1923. (4th ation) 3. Conen, Stoney. The Beyond Within: The LSD Story. New York: Atheneum, 1964. 4, Estasrooxs, G. H. “A Contribution to Experimental Telep- athy.” Bulletin 5, Boston Society for Psychic Research, 1927. 5. Hocxtnc, Witiiam Ernest. The Meaning of God in Human Experience. New Haven: Yale University Press, 1912.

22 Fournal of the American Society for Psychical Research 6. James, WiiiiaM. The Varieties of Religious Experience. New York: Longmans, Green & Co., 1902. 7. Lewin, Kurt. A Dynamic Theory of Personality. New York: 8. 9 McGraw-Hill, 1935, Mastow, A. H. Motivation and Personality. New York: Harper & Brothers, 1954. . “Cognition of Being in the Peak Experience.” " International Journal of Parapsychology, Vol. 2, Autumn, 1960, 10. 11. 12. 13. 14. 15. 16. 17. 23-50. Murpuy, GARDNER. “Psychical Phenomena and Human Needs.” "Journal A.S.P.R., Vol. 37, October, 1943, 163-191. . “Creativity and its Relation to Extrasensory Perception.” Fournal A.S.P.R., Vol. 57, October, 1963, 203-214. . ““Lawfulness Versus Caprice: Is There a ‘Law of Psychic Phenomena?’” Journal A.S.P.R., Vol. 58, October, 1964, 238-249. Prince, WALTER FRANKLIN. Noted Witnesses for Psychic Occur- rences. Boston: Boston Society for Psychic Research, 1928. Rossman, JosePu. Jndustrial Creativity: The Psychology of the Inventor. New Hyde Park, New York: University Books, Inc., 1964. (3rd edition.) Toman, Epwarp C. Purposive Behavior in Animals and Men. New York: Appleton-Century-Crofts, 1932. Warco..ier, RENE. os Telepathy. Boston: Boston Society for Psychic Research, 193 Wuite, Ruea A. “A Comparison of Old and New Methods of Response to Targets in ESP Experiments.” Journal A.S.P.R., Vol. 58, January, 1964, 21-56. The Menninger Foundation Topeka, Kansas 66601 PRINTED IN BRUGES, BELGIUM, BY THE ST CATHARINE PRESS, LTD.