ABSTRACT
Could Albert Einstein have been a Pablo Picasso? Were the thought processes that led to the creation of the special theory of relativity essentially the same as those responsible for the emergence of Guernica? Or is scienti®c creativity so different from artistic creativity that the two minds operated in totally different worlds? Indeed, is creative problem solving even more specialised than this distinction implies? For instance, were the cognitive operations of Picasso, Igor Stravinsky, Henrik Ibsen, and Martha Graham all as divergent from each other as they were from those of Einstein? Is the creative process so domain speci®c that it is necessary to speak of separate mental processes for art, music, literature, and dance? Or are there one or more information-processing procedures that cut across all forms of creativity no matter what the domain?
