Thinking Skills and Creativity 6 (2011) 4448

Contents lists available at ScienceDirect

Thinking Skills and Creativity

journal homepage: http://www.elsevier.com/locate/tsc

Dissociative experiences, creative imagination, and artistic production

in students of Fine Arts
Mara Jos Prez-Fabello a, , Alfredo Campos b
a
b

University of Vigo, Spain

University of Santiago de Compostela, Spain

a r t i c l e

i n f o

Article history:
Received 20 June 2010
Received in revised form
11 September 2010
Accepted 30 November 2010
Available online 9 December 2010
Keywords:
Dissociative experiences
Imagination
Creativity
Artistic production
Fine Arts students

a b s t r a c t
The current research was designed to assess the inuence of dissociative experiences and
creative imagination on the artistic production of Fine Arts students of the University of Vigo
(Spain). The sample consisted of 81 students who were administered the Creative Imagination Scale and The Dissociative Experiences Scale. To measure artistic production students
were given an art assignment requiring them to produce a picture 180 cm 180 cm in format with freedom of choice regarding technique and materials. The artistic productions
were scored on three factors: analysis of the idea, implementation of the idea and technical
skill. The results support our working hypothesis that dissociative experiences inuence
the artistic production of Fine Arts students. Notwithstanding, no signicant differences in
artistic production were observed between students with high in comparison to low creative imagination. The scarce availability of the literature underscores the need for further
research.
2010 Elsevier Ltd. All rights reserved.

1. Introduction
Dissociation has been the subject of considerable controversy, and research during the XIX century had reached much
eminence in the late XX century (for a review see Prez & Galdn, 2003). Though the traditional notion of dissociation was
drawn from clinical settings, the prevailing perspective is to view it as non-pathological phenomena (Bernstein & Putnam,
1986; Frankel, 1990, 1996). Dissociation encompasses a broad spectrum of experiences ranging from common experiences in
normal populations (e.g. transient experiences of absorption or imaginative involvement while driving, reading or watching
television) to more pathological forms (characterized by dissociative amnesia, derealization, depersonalization and altered
self-perception). These experiences are reected in the Dissociative Experiences Scale (DES), which is a 28-item self-report
instrument (Bernstein & Putnam, 1986).
Studies on dissociative experiences undertaken on non-clinical samples, mainly undergraduate students, have attempted
to establish a nexus between dissociative experiences and normal functioning variables such as absorption and fantasy
proneness. One of the most consistent ndings is the correlation between dissociative experiences and fantasy proneness
and imagination (Levin & Spei, 2003; Lynn & Rhue, 1988; Willson & Barber, 1983). Sapp and Hitchock (2003) found a signicant correlation (r = .241, p < .01) between creative imagination and the DES. Several studies have observed that the
higher the level of dissociation, the greater the involvement in day dreaming and fantasy proneness (Merckelbach & Jelicic,

Corresponding author at: University of Vigo, Faculty of Fine Arts, Ra Maestranza, 2, 36002 Pontevedra, Spain. Tel.: +34 986 801 879;
fax: +34 986 801 885.
E-mail address: fabello@uvigo.es (M.J. Prez-Fabello).
1871-1871/$ see front matter 2010 Elsevier Ltd. All rights reserved.
doi:10.1016/j.tsc.2010.11.001

M.J. Prez-Fabello, A. Campos / Thinking Skills and Creativity 6 (2011) 4448

45

2004; Merckelbach, Muris, Rassin, & Horselenberg, 2000; Waldo & Merritt, 2000). Parra (2007) found signicant differences between the variables fantasy proneness, psychological absorption and dissociative experiences and the variable of
hallucinogenic experiences in normal individuals. These variables together with the visual imagery and/or cognitive and
perceptual variables have been associated with out-of-body experiences (Parra, 2008). Hence, undergraduate students with
high scores in fantasy proneness psychological absorption, dissociative experiences, visual imagery as well as other cognitive
and perceptual variables had more hallucinogenic and out-of-body experiences than participants who scored low on these
variables.
Dissociation has also been associated with a cognitive style reliant on mental imagery (Vannucci & Mazzoni, 2006, 2009).
In non-clinical samples, there is considerable discrepancy regarding the ndings i.e., several studies have found no signicant
correlations between dissociative experiences and some aspects of mental imagery vividness (Heaps & Nash, 1999; Vannucci
& Mazzoni, 2006, 2009; Winograd, Peluso, & Glover, 1998). In contrast, other authors have reported signicant correlations
between dissociation and the degree of imaginative suggestibility (Winograd et al., 1998), a strong positive signicant
association between the DES and a specic aspect of mental imagery, namely the production and use of mental imagery
of future events (Vannucci & Mazzoni, 2006), and have found that individuals with a higher level of dissociation report a
greater use of an imagery-based strategy (Giolas & Sanders, 1992; Vannucci & Mazzoni, 2006).
Traditionally, dissociative experiences have been associated with classical notions of creativity i.e., creative inspiration
is said to occur in an altered state of consciousness; thus, individuals who report frequent depersonalization experiences
score high for fantasy proneness and imagination, similar to creative individuals (see Martindale, 1989). Likewise Wolfradt
and Pretz (2001) note that depersonalization or unusual perceptual experiences may be closely linked to creativity. Grosso
(1998) views creative dissociation in relation to inspiration, mediumship, and surrealism. Similarly, Csikszentmihalyi (1996)
denes it as a ow, a state of optimum experience, moments in which one nds oneself possessed by a profound feeling
of creative bliss, moments of active concentration, absorption in what one is doing at the time, experiences similar to those
described in the DES. Nevertheless, the results obtained in experimental studies are considerably contradictory in terms of
the relationship between dissociative experiences and creativity ranging from signicant relations (Prez-Fabello & Campos,
in press; Sapp & Hitchock, 2003), to the absence of any relationship whatsoever (Wolfradt & Pretz, 2001).
Creativity is considered to be a key factor in the world of art (see Runco, 2007); nevertheless, the data from experimental
studies do not substantiate the claim either among high school students (Campos, Gonzlez, & Caldern, 1996a; Campos,
Gonzlez, & Caldern, 2000) or university students, including Fine Arts students (Campos & Gonzlez, 1993; Campos &
Gonzlez, 1994; Campos, Gonzlez, & Prez, 1996; Prez-Fabello & Campos, 2007). Campos and Gonzlez (1993) and PrezFabello and Campos (2007) note there are several types of creativity associated with specic elds, which underscores the
need to apply an array of measurement instruments in order to assess possible signicant relations.
Recent studies have found a greater frequency of dissociative experiences among Fine Arts students than among Psychology students (Prez-Fabello & Campos, submitted for publication) or Social Education students (Prez-Fabello & Campos,
2009). Moreover, signicant differences in creativity (creative imagination and creative experiences) have been observed
among Fine Arts students with high as opposed to low dissociative experiences (Prez-Fabello & Campos, in press). Therefore, the aim of this study, in line with previous research, was to assess the inuence of dissociative experiences and creative
imagination on the artistic production of Fine Arts students in the undertaking of an art assignment i.e., to produce a picture.
2. Method
The sample consisted of 81 students from the Faculty of Fine Arts of the University of Vigo, Spain (61 women and 20
men). The mean age was 19.94 year (SD = 1.76, range 1824 years). All participated voluntarily.
2.1. Materials and procedure
The Creative Imagination Scale (CIS) (Wilson & Barber, 1978), which assesses subjective responses to ten test-suggestions
was translated into Spanish. The ten suggestions provide descriptions that guide respondents to use their own thinking and
creative imagination in order to experience the suggested effects. The experiences involved visual, auditory, kinaesthetic,
and olfactory sensations. The students were administered the CIS, and asked to rate their experiences for each of the ten
test-suggestions by indicating the extent to which each imagined experience matched the corresponding real experience
on a ve-point scale ranging from: Not at all the same as the real thing (score of 0) to Almost exactly the same as the
real thing (score of 4). Thus scores on each of the ten test-suggestions can range from 0 to 4, and overall scale score on the
CIS can range from 0 to 40.
The Dissociative Experiences Scale (DES) (Bernstein & Putnam, 1986, Spanish version by Icarn, Colom, & Orengo, 1996)
is a self-report instrument to measure dissociative symptoms in both normal and clinical populations. Items include experiences of amnesia, gaps in the continuity of awareness, depersonalization, derealization, absorption, and identity alteration.
Examples of DES items include having no memory for important past events in ones life (autobiographical amnesia), being
in a familiar place and nding it strange and unfamiliar (derealization), feeling as if ones body is not ones own (depersonalization), becoming so absorbed in watching television or a movie that one is unaware of what is happening (absorption), and
feeling as if one is two different people (identity alteration). Instructions on the cover sheet specify that participants should
not include experiences that occurred when they were under the inuence of alcohol or drugs. To answer DES questions

46

M.J. Prez-Fabello, A. Campos / Thinking Skills and Creativity 6 (2011) 4448

circle the percentage of time that dissociative experiences occur (given in 10% increments ranging from 0 to 100). Total
scores are calculated by averaging the 28-item scores.
The assessment of artistic production involved an art assignment i.e., a picture 180 cm 180 cm in format. The entire
process from inception to creation was assessed in terms of the choice of a stimulus taken from the outside world, followed
by the analysis of the stimulus, and nally the conclusion in terms of the transformed stimulus into an artistic idea and

product. The art project designed by the lecturer Marina Nunez

in her painting class in the Faculty of Fine Arts, involved
choosing a subjective stereotype to deconstruct. Thus, once the concept had been dened, the student was required to
stage a scene or dramatize the deconstruction, and then photograph it. Thereafter, students were asked to produce a freestyle painting in large format (minimum 1.80 cm square) using the photographic material. Three criteria were appraised:
formulation of the idea, implementation of the idea, and technical skill.
1. Formulation of the Idea involved three factors: Pertinence, Discourse Complexity, and Total. The score for Pertinence
ranged from 0 to 10 points (according to whether the deconstruction of the stereotype was adequate, contemporary and
signicant, and the degree to which the idea was obvious; 0 not very adequate and very evident, and 10 very adequate
and not obvious). The score for Discourse Complexity ranged from 0 to 10 (according to originality and the power of
invocation; 0 not very complex, and 10 very complex). The Total score for the Formulation of the Idea involved the
sum of Pertinence and Discourse Complexity, the maximum score being 20. Moreover, for the scoring of the Formulation
of the Idea students were individually interviewed and asked to explain their ideas concerning their chosen stereotype.
2. Implementation of the Idea involved three factors: Visual Impact, Formal Complexity, and Total. The score for Visual
Impact ranged from 0 to 10 (according to the emotional value of the product, 0 little emotional value, and 10 high
emotional value). The score for Formal Complexity ranged from 0 to 10 (in relation to the degree of sophistication in
the representation, 0 little formal complexity, and 10 great formal complexity). The Total score for Implementation
of the Idea was derived by adding the scores for Visual Impact and Formal Complexity, the maximum score being 20. The
evaluation of Implementation of the Idea was undertaken using the photographed scenes as well as the nal product i.e.,
the large painting.
3. Technical skill, the score ranged from 0 to 20 according to several criteria of technical skill such as mastery of colour, form,
gesture, volume, perspective, etc.; 0 little technical skill and 20 great technical skill. Technical skill was also assessed
taking into account the nal artistic product i.e., the large picture.
The students worked on painting class for approximately two hours per week for a four-month period in groups of
2030. Moreover, they were administered the CIS and the DES. All participants received academic credits for participating
in the study and students were assured their results would remain strictly condential. For the analyses described below,
participants were divided into high or low in the CIS and the DES according to whether their score was above or below the
whole-sample mean. The analysis of the data was conducted by the authors of the article.
3. Results
The internal consistency as measured by Cronbachs , was .69 for the CIS, and .88 for the DES, which is similar to the
results reported in other studies. Yu (2005) found in a sample of Hong Kong university students that both the alpha reliability
coefcient and the Guttman split-half coefcient for the 10 CIS components were .71. Prez-Fabello and Campos (submitted
for publication) found an internal consistency for the DES was .90 for Fine Arts students, .89 for Psychology students, and
.91 for the entire sample (Cronbachs ).
In order to determine any signicant differences between high or low dissociative experiences and creative imagination
in artistic production (i.e., Formulation of the Idea, and Implementation of the Idea), two Multivariate Analysis of Variance
(MANOVA) were conducted with DES performance (high or low) and CIS performance (high or low) as independent variables,
and the different factors of creative production as dependent variables. The results show DES scores inuenced the Formulation of the Idea, Wilks lambda distribution = .77, F(2, 76) = 9.049, p < .001, power = .97 (see means and standard deviations
in Table 1). Later univariate analysis revealed signicant differences in Pertinence, F(1, 77) = 12.953, p < .001, power = .94;
Discoursal Complexity, F(1, 77) = 17.971, p < .001, power = .99; and the Total, F(1, 77) = 17.856, p < .001, power = .99. In comparison, the CIS scores did not inuence the Formulation of the Idea, Wilks lambda = .99, F(2, 76) = .202, p > .05, power = .08.
The interaction between the two variables was not signicant at the 5% level, Wilks lambda distribution = .98, F(2, 76) = .783,
p > .05, power = .18.
Moreover, DES scores also inuenced the Implementation of the Idea, Wilks lambda = .90, F(2, 76) = 3.539, p < .05,
power = .64 (see means and standard deviations in Table 1). Later univariate analysis showed signicant differences in
Visual Impact, F(1, 77) = 6.510, p < .05, power = .71; Formal Complexity, F(1, 77) = 6.622, p < .05, power = .72; and the Total,
F(1, 77) = 7.189, p < .01, power = .75. Fine Arts students scoring high on the DES obtained higher scores in the different levels of
Formulation of the Idea and Implementation of the Idea than those who scored low on the DES. In comparison, the CIS score
did not inuence the Implementation of the Idea, Wilks lambda = .93, F(2, 76) = 2.397, p > .05, power = .47. The interaction
between the two variables was not signicant, Wilks lambda distribution = .96, F(2, 76) = 1.286, p > .05, power = .27.
To determine the inuence of dissociative experiences and creative imagination on Technical Skills, an ANOVA was
carried out with DES performance (high or low) and CIS performance (high or low) as independent variables and Technical

M.J. Prez-Fabello, A. Campos / Thinking Skills and Creativity 6 (2011) 4448

47

Table 1
Means and standard deviation of artistic production with high and low DES and CIS scores.
Creative production

DES

CIS

High

Formulation of the Idea

p
DC
Total
Implementation of Idea
VI
FC
Total
Technical Skill

Low

Total

High

Low

SD

SD

SD

SD

SD

8.0
8.27
16.27

.62
.75
1.20

7.28
7.20
14.48

.93
1.14
1.97

7.58
7.68
15.25

.93
1.09
1.91

7.53
7.55
15.09

.85
1.19
1.95

7.56
7.62
15.18

.89
1.13
1.92

7.96
7.75
15.71
17.37

1.29
1.16
2.32
1.31

7.18
7.03
14.20
16.76

1.31
1.18
2.38
1.34

7.31
7.30
14.61
16.91

1.41
1.32
2.62
1.47

7.71
7.33
15.03
17.12

1.26
1.09
2.25
1.20

7.48
7.31
14.80
17.00

1.35
1.21
2.46
1.35

Note: P, Pertinence; DC, Discoursal Complexity; VI, Visual Impact; FC, Formal Complexity; DES, Dissociative Experiences Scale; CIS, Creative Imagination
Scale.

Skill as the dependent variable. The results indicate the scores obtained by the participants on the DES inuenced Technical
Skill, F(1, 77) = 3.986, p < .05, power = .50 (see means and standard deviations in Table 1). Fine Arts students scoring high on
the DES obtained higher scores in Technical Skill than those who scored low on the DES. However, the scores obtained by
participants on the CIS did not inuence Technical Skill, F(1, 77) = .941, p > .05, power = .16. The interaction between the CIS
and the DES was not signicant, F(1, 77) = 3.549, p > .05, power = .46.
4. Discussion
The results of this study reveal signicant differences in artistic production (Formulation of the Idea, Implementation
of the Idea, and Technical Skill) between Fine Arts students scoring high or low in dissociative experiences. Fine Arts students who obtained high scores for dissociative experiences obtained high scores in Formulation of the Idea (Pertinence,
Discoursal Complexity and Total), Implementation of the Idea (Visual Impact, Formal Complexity and Total), and Technical
Skill. The results support the hypothesis that the dissociative experiences of Fine Arts students inuenced the outcome of
artistic production given that artistic activity entails levels of absorption, fantasy and dissociation. Previous studies have
corroborated the association between dissociative experiences and creativity, a fundamental variable for artistic production
both at an experimental level (Prez-Fabello & Campos, in press; Sapp & Hitchock, 2003) and in theoretical assumptions
(Csikszentmihalyi, 1996; Martindale, 1989; Wolfradt & Pretz, 2001). However, no signicant differences were observed in
artistic production between students with high or low creative imagination. Similar results have been reported by PrezFabello and Campos (2007) using the same creative imagination scale of academic performance of Fine Arts students. In our
opinion the results of our study of the Creative Imagination Scale are a measure of general aspects of creativity whereas the
ad hoc test of the creative product is more specically related to artistic creativity.
As the literature on dissociation and visual Arts is scarce further research is required to assess our working hypothesis.
In line with Putnam (1994), we assert that many dissociative experiences regarded as pathological in adults are considered
as normal for young children or adolescents and even positive for their development, as is the case with make-believe,
including imaginary phenomena such as the imaginary friend. In the eld of students of Fine Arts, dissociative experiences may prove positive and productive by enriching creativity. Notwithstanding, further studies using other measures of
creativity are required to assess the specic artistic productions of Fine Arts.
Acknowledgment
for her collaboration in the development and evaluation process
The authors would like to thank the artist Marina Nnez
of artistic production.
References
Bernstein, E. M., & Putnam, F. W. (1986). Development, reliability and validity of a dissociation scale. Journal of Nervous and Mental Disease, 174, 727735.
Campos, A., & Gonzlez, M. A. (1993). Creatividad y rendimiento acadmico en estudiantes de Bellas Artes, Ciencias y Letras [Creativity and academic
performance of students in Arts, Sciences and Letters]. Adaxe, 9, 1928.
Campos, A., & Gonzlez, M. A. (1994). Es la creatividad un factor determinante en los estudios de Bellas Artes? [Is creativity a key factor in studies of Fine
Arts?] Revista Galega de Psicopedagoxa, 89, 209217.
Campos, A., Gonzlez, M. A., & Caldern, M. L. (1996a). Incidencia del control de imagen y la produccin creativa en las calicaciones de bachillerato [Impact
of image control and creative production skills in high school]. Adaxe, 12, 915.
Campos, A., Gonzlez, M. A., & Caldern, M. L. (2000). Imgenes y creatividad: Su relacin con el rendimiento acadmico [Images and Creativity: Its relation
to academic performance]. Revista de Educacin, 321, 343350.
Campos, A., Gonzlez, M. A., & Prez, M. J. (1996b). Control de imagen, pensamiento creativo y rendimiento acadmico en Bellas Artes [Image control,
creative thinking and academic achievement in Fine Arts]. Revista Galega de Psicopedagoga, 13, 245252.
Csikszentmihalyi, M. (1996). Creativity. Flow and the psychology of discovery and invention. New York: Harper-Collins.

48

M.J. Prez-Fabello, A. Campos / Thinking Skills and Creativity 6 (2011) 4448

Frankel, F. H. (1990). Hypnotizability and dissociation. American Journal of Psychiatry, 147, 823829.
Frankel, F. H. (1996). Dissociation: The clinical realities. American Journal of Psychiatry, 153, 6470.
Giolas, M. J., & Sanders, B. (1992). Pain and suffering as a function of dissociation level and instructional set. Dissociation, 5, 205209.
Grosso, M. (1998). Inspiration, mediumship, surrealism: The concept of creative dissociation. In S. Krippner, & S. M. Powers (Eds.), Broken images, broken
selves: Dissociative narratives in clinical practice (pp. 181198). Washington, DC: Brunner/Mazel.
Heaps, C., & Nash, M. (1999). Individual differences in imagination ination. Psychonomic Bulletin and Review, 6, 313318.
Icarn, E., Colom, R., & Orengo, F. (1996). Experiencias disociativas: Una escala de medida [Dissociative experiences: A scale of measure]. Anuario de Psicologa,
70, 6984.
Levin, R., & Spei, E. (2003). Relationship of purported measures of pathological and nonpathological dissociation to self-reported psychological distress and
fantasy immersion. Assessment, 11, 160168.
Lynn, S. J., & Rhue, J. W. (1988). Fantasy proneness: Hypnosis, developmental antecedents, and psychopathology. American Psychologist, 43, 3544.
Martindale, C. (1989). Personality, situation, and creativity. In J. A. Glover, R. R. Ronning, & C. R. Reynolds (Eds.), Handbook of creativity (pp. 211232). New
York: Plenum Press.
Merckelbach, H., & Jelicic, M. (2004). Dissociative symptoms are related to endorsement of vague trauma items. Comprehensive Psychiatry, 45, 7075.
Merckelbach, H., Muris, P., Rassin, E., & Horselenberg, R. (2000). Dissociative experiences and interrogative suggestibility in college students. Personality
and Individual Differences, 29, 11331140.
Parra, A. (2007). Interrelacin entre disociacin, absorcin y propensidad a la fantasa con experiencias alucinatorias en poblacin no-clnica [Interrelation
between dissociation, absorption and fantasy-prone to hallucinatory experiences in non-clinical population]. Alcmeon, 14, 6171.
Parra, A. (2008). La experiencias extracorpreas y las experiencias alucinatorias: Relacin con variables cognitivas y perceptuales [The extracorporeal
experiences and hallucinatory experiences: Relation to cognitive and perceptual variables]. Revista Liberabit, 14, 514.
Prez, S., & Galdn, M. J. (2003). Los fenmenos disociativos: Una revisin conceptual [Dissociative fenomena: A conceptual review]. Revista de Psicopatologa
y Psicologa Clnica, 8, 85108.
Prez-Fabello, M. J., & Campos, A. (2007). Creatividad y rendimiento acadmico de los estudiantes de Bellas Artes [Creativity and academic performance of
students of Fine Arts]. Revista Galego-Portuguesa de Psicologa e Educacin, 15, 127133.
Prez-Fabello, M. J., & Campos, A. (2009). Son las expericencias disociativas una caracterstica distintivas de los estudiantes de Bellas Artes? Un estudio
preliminar [Are the dissociative experiences a distinguishing characteristic of students of Fine Arts? A preliminary study]. In B. D. Silva, L. S. Almeida, A.
Barca, M. Peralbo (Eds.), Actas do X Congresso Internacional Galego-Portugus de Psicopedagogia (pp.563-568). Braga, Portugal: Universidade do Minho.
Prez-Fabello, M. J., & Campos, A. (in press). Dissociative experiences and creativity in Fine Arts students. Creativity Research Journal.
Prez-Fabello, M. J., & Campos, A. (submitted for publication). The dissociative experiences of Fine Arts students.
Putnam, F. W. (1994). Dissociative disorders in children and adolescents. In S. J. Lynn, & J. W. Rhue (Eds.), Dissociation. Clinical and Theoretical Perspectives
(pp. 175189). New York: Guilford.
Runco, M. A. (2007). Creativity. Theories and themes: Research, development, and practice. San Diego, CA: Elsevier Academic Press.
Sapp, M., & Hitchock, K. (2003). Creative imagination, absorption, and dissociation with African American college students. Sleep and Hypnosis, 5, 95104.
Vannucci, M., & Mazzoni, G. (2006). Dissociative experiences and mental imagery in undergraduate students: When mental images are used to foresee
uncertain future events. Personality and Individual Differences, 41, 11431153.
Vannucci, M., & Mazzoni, G. (2009). Individual differences in object and spatial imagery: Personality correlates. Personality and Individual Differences, 46,
402405.
Waldo, T. G., & Merritt, R. D. (2000). Fantasy proneness, dissociation, and DSM-IV axis II symptomatology. Journal of Abnormal Psychology, 109, 555558.
Wilson, S. C., & Barber, T. X. (1978). The Creative Imagination Scale as a measure of hypnotic responsiveness: Applications to experimental and clinical
hypnosis. American Journal of Clinical Hypnosis, 20, 235249.
Willson, S. C., & Barber, T. X. (1983). Fantasy-prone personality: Implications for understanding imagery, hypnosis, and parapsychological phenomena. In
A. A. Sheikh (Ed.), Imagery: Current theory, research, and application (pp. 340387). New York: Wiley.
Winograd, E., Peluso, J. P., & Glover, T. A. (1998). Individual differences in susceptibility to memory illusions. Applied Cognitive Psychology, 12, S5S27.
Wolfradt, W., & Pretz, J. E. (2001). Individual differences in creativity: Personality, story writing, and hobbies. European Journal of Personality, 15, 297310.
Yu, C. K. (2005). Suggestibility of the Chinese as revealed by the Creative Imagination Scale. Contemparty Hypnosis, 22, 7783.