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Stokes, P.D. (1995). Learned variability. Animal Learning and Behavior, 23, 164-    176. [PDF]

Stokes, P.D. (1995). Teaching variability in problem solving. In R. Kelder (Ed.), Theories of learning: Teaching for understanding and creativity (pp. 1-8). New Paltz, NY: SUNY at New Paltz.

Stokes, P.D., & Balsam, P.D (2001). An optimal period for setting sustained variability levels. Psychonomic Bulletin and Review, 8, 177-184. [PDF]

Stokes, P.D., & Harrison, H. (2002). Constraints have different concurrent effects and after-effects on variability. Journal of Experimental Psychology: General, 131 (pp. 552-566). [PDF]

Stokes, P.D., Lai, B., Holtz, Rigsbee, E., & Cherrick, D. (2008).  Effects of practice on variability. Effects of variability on transfer.  Journal of Experimental Psychology Human Perception and Performance, 34, 640-659.  [PDF]

Stokes, P.D., Mechner, F., & Balsam, P.D. (1999). Effects of different acquisition procedures on response variability. Animal Learning and Behavior, 27, 28-41. [PDF]


Stokes, P.D. (2007). Using constraints to generate and sustain novelty. Psychology of Aesthetics, Creativity, and the Arts, 2, 107-113. [PDF]

Stokes, P.D. (2008).  Creativity from constraints: What can we learn from Motherwell?  From Mondrian?  From Klee?  Journal of Creative Behavior, 42, 223-236. [PDF]

Stokes, P.D. (In press).  Creativity and operant research: Selection and reorganization of responses.  In M.Runco (Ed.), Handbook of Creativity Research.  Cresskill, NJ: Hampton Press. [PDF]

Stokes, P.D. (2005). From Constraints to Creativity: The Psychology of Breakthrough. New York: Springer. [Browse on Amazon]

Stokes, P.D. (2001). Variability, constraints and creativity: Shedding light on Claude Monet. American Psychologist, 36, 355-359. [PDF]

Stokes, P.D. (2001). Variations on Guilford’s creative abilities. Creativity Research Journal, 13, 277-283.

Stokes, P.D. (2001). Constraints and creativity: Experiments in psychology and art. In S. Nagel (Ed.), Handbook of policy creativity (pp. 33-48). Huntington, NY: Nova Science .

Stokes, P.D. (1999). Learned variability: Implications for creativity. Creativity Research Journal, 12, 37-45. [PDF]

Stokes, P.D. (1999). Novelty. In M.Runco & S. Prtizker (Eds), Encyclopedia of creativity, Vol. 2 (pp. 297-304). NY: Academic Press.

Stokes, P.D., & Balsam, P.D. (2003). Effects of early strategic hints on sustained variability levels. Creativity Research Journal, 15, 331-341. [PDF]

Stokes, P.D., & Fisher, D. (2005). Selection, constraints, and creativity. Case studies: Max Beckmann and Philip Guston. Creativity Research Journal, 17, 283-291. [PDF]




Stokes, P.D. (1998). Early expertise: On Winner’s Gifted Children: Myths and realities. Creativity Research Journal, 11, 89-91.

Stokes, P.D., Holtz, D., Massel, T., Carlis, A., & Eisenberg, J. (2008).  Sources of variability in children’s problem solving.  The International Journal of Creativity & Problem Solving, 18, 49-68. [PDF]




The constraints in these paintings preclude single-panel, single-scale presentation. They promote multiple panels, which repeat adjacent shapes at slightly different scales. The repetitions are intended to produce rhythmic compositions. All paintings are done with oils.


 

Panel Sizes:  Left 12" by 38"
Middle 26” by 38”
Right 30’ by 38”
 

Panel Sizes:  Left 18” x 24”
Middle 22” x 24”
Right 18” x 24”
 

Panel Sizes:  Left 20” x 30”
Right 20” x 30”


The constraints in these paintings preclude a single view and a single style. Rather they promote multiple views, with multiple styles. The views include parts of the garden, the garden plan or “plot”, and a detailed close-up of one type of flower from the garden. All paintings are done in oils.

 

Panel Sizes:  Left 20” x 34”
Right 26” x 34”
 

Panel Sizes:  Left 32” by 36”
Middle 14”by 36”
Right 32” by 36”
 

Panel Sizes:  Left 28” by 32”
Right 20” by 32”


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