"Gruber speaks of an "evolving systems" approach to the study of creativity: that is, one monitors simultaneously the organization of knowledge in a … - Howard Gardner

Freud's convictions about the importance of infantile developments also colored his view of creative activity. Freud was impressed by the parallels between the child at play, the adult daydreamer, and the creative artist. As he once phrased it:

Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him?....The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously-that is, which he invests with large amounts of emotion-while separating it sharply from reality.

As David Feldman has shown, the prodigy must exhibit promise in an area that is valued by the culture and in which children’s relevant behaviors are at least noticed. If graphic expression is not valued in a culture, if children’s scribbles are routinely disregarded and discarded, there will be no drawing prodigies. By the same token, when a culture begins to attend to children’s precocious performances in a domain — as has happened with visual artistry in contemporary China — one may discover unexpected gifts.

The most important consideration for those engaged in mind change, however, is probably the following: Avoid egocentrism — becoming ensnared in one’s own construal of events. The purpose of a mind-changing encounter is not to articulate your own point of view but rather to engage the psyche of the other person. In general, the more that one knows about the scripts and the strengths of the other person, the resistances and resonances, and the more that one can engage these fully, the more likely one will be successful in bringing about the desired change — or at least holding open the possibility of such changes.