CAPITULO III MARCO REAL MARCO REAL
EMPRESAS CANTIDAD DE UNIDADES
Cattell, while developing his own factorial analysis of personality produced several lucid papers on the structure o f m otivation which has been developed considerably by researchers. Cattell’s (1957/68/71/75/77 et al) factor analysis of motivation is reluctunt here. Primary to his researches was the aspect of motivation as a conditioned pattern, i.e. "a manipulated pattern of reinforcement" (1976) which he quickly disparages, pursuing a 'more complex cognitive and emotional' factor. Cattell outlines three basic aspects of motivated behaviour.
1. Spontaneous attention to specific things as against other things.
2. There appears to be a characteristic emotion specific to the drive and its action. 3. There appears to be an impulse to a course of action which has a particular goal as
Kline (1975) suggests that interest is better used in the context of inferred behaviour. He also notes that its measure in the social context is bounded by many cultural social and personal precepts. He continues:
"Interest refers to the enjoyment and voluntary performance of activities, and thus the underlying dim ensions are unlikely to be specific. Therefore that as explanatory concept it is quite useless". (P. 131/32).
Cattell initially isolated five factors of motivation and later he and Child (1975) added a further two elements. These were all designated with Greek alphabetical titles. These motivation 'primaries' yielded 'second stratum factors' which have the complexion of being either integrated or 'unintegrated'. These layers of motivation are seen to be related to what Cattell called the ‘dynamic lattice’. This lattice is constructed from the many aspects of motivational behaviour. It is a series paths establishing goals and sub goals. Goals are often products of multiple subgoals, either conscious or subconscious.
The summation of these chains and drives is the final level of this goal achievement, which Cattell names an "Erg". It is also clear that goals and sub-goals may not be consistent, or in fact that the subgoals may be multifacetted and be parts of other goals. Diagram (11) shows part of such a dynamic lattice from Cattell (1977) P. 177. The 'erg' is defined by Cattell ( 1977) as:
"an innate reactive tendency, the behaviours of which are directed towards and cease at a particular consummatory goal activity ".(P. 179).
He likens 'ergs' to ‘drive’ and suggests that clusters of 'ergs' become "sentiments" being effected partly by instinctive emotional and consummatory factors. Sentiments he defines as:
"Dynamic structures visible as common reaction patterns to persons, objects or social institutions and upon which all people seem to have some degree of endowment". (P. 179).
Sentiments he suggests show up in the dynamic lattice as intermediate subgoals between initial attitudes and final goals. Which ergs do building designers use, do they determine a designers final product as discussed earlier by Oakley (1967)? The author would suggest they do.
Overpage is Table 5, reproduced from Cattell and Kline (1977), showing the main areas of activity of 'Ergs' and 'Sentiments'.
Motivation : Towards the Objective Measurements Of The Components Hypothesized List of Human Ergs
Goal title Emotion Status of evidence
Food-seeking Mating Gregariousness Parental Exploration Escape to security Self-assertion Narcistic sex Pugnacity Acquisitiveness Hunger Sex Loneliness Pity Curiosity Fear Pride Sensuousness Anger Greed Replicated factor; measurement battery exists
Goal title Emotion Status of evidence
Appeal Rest-seeking Constructiveness Self-abaseme Despair Sleepiness Creativity Humility
Factor, but of certain independence
Disgust Laughter
Disgust Amusement
Factor absent for lack of markers
Hypothesized List of Human Sentiments
SI Profession
82 Parental family, home 53 Wife, sweetheart
54 The self-sentiment. Physical and psychological self 55 Superego
56 Religion. This has emphasis on doctrine and practice, one high social and low esthetic values
57 Sports and fitness. Games, physical activity, hunting, military activity
58 Mechanical interests 59 Scientific interests. High
theoretical, low political;
515 Thoeretical-logical. Thinking, precision
516 Philosophical-historical. Language, civics, social- cultural, esthetic rather than economic
517 Patriotic-political
518 Sedentary-social games. Diversion, play club and pub sociability; cards 519 Travel-geography. Possibly
Guilford's autism here 520 Education-school attachment 521 Physical-home-decoration-
fumishing
S22 Household-cooking
s 10 B u sin e ss-e c o n o m ic . M o n e y adm in istrativ e 511 C lerical interests 5 1 2 E sthetic ex p ressio n s 513 Esthetic-literary appreciation D ra m a 5 1 4 O u td o o r-m a n u a l. Rural nature- loving, gard en in g , a v e rs e to busin ess and "cerebration".
523 N e w s -c o m m u n ic a tio n . N e w s paper, radio, T V 5 2 4 C lo th e s, s e lf- a d o m m e n t 5 2 5 A n im al pets 5 2 6 Alcohol 5 2 7 H o b b ie s n ot already specified
T a b le 5 - Cattell and K line's E rg s and S en tim e n ts.
T h e d y n a m ic lattice is a useful m o d e l,a n d so m e o f its erg s and s e n tim e n ts a p p e a r direc tly related to architectural student selection pro c e e d u re s, though it's "super c o m p le x ity " can be noted within particular factors. Cattell and C h ild in d e m o n s tra tin g the lattice re la ting to sex, iden tified that it is a lm o st im p o s sib le to re p resen t; as the n u m b e r s o f erg s a n d se n tim e n ts a re so great. W h a t is a lso o f i m p o r ta n c e is the d riv e o r d y n a m ic trait in v o lv e d , i.e. the d r iv e s f o r sex fro m a sex s ta rv e d p r is o n e r o f n a tu ra l d is p o s itio n c o m p a r e d to th o se o f a n o th e r , say, a f te r b r o m id e tr e a t m e n t a n d 'a cold sh o w e r ', a re c o n s id e r a b ly d iffe re n t as b e tw e e n , quick and im p u ls iv e to slu g g ish and bored. T h e r e f o r e any d y n a m i c f a c to r m ust be so b roa d an d also be c a p a b le o f c o p in g w ith so m a n y d iffe re n t erg s a n d s e n tim e n ts that the d y n a m ic trait m ust as C attell says be " te m p e ra m e n ta l" . T h e n u m b e r o f stim uli in v olved in 'sp a rk in g o r d a m p in g ' the d y n a m i c s o f m o tiv a tio n are in d e e d too g re a t to a tte m p t to c o v e r here. T h o u g h it a p p e a rs to the w rite r that A b r a h a m M a slo w 's w o r k in o rg a n isa tio n a l an d h u m a n m a n a g e m e n t id en tifies s o m e o f the d riv e fa cto rs in his 'H ie ra rc h y o f N eeds'.
A ttitu d e level - | Fil m J ploy
S e n tim e n t level E rg ic level C u rio sity W ile s H o b b y p h o io g hoir style G re g o r - l o u s n e s s P ro te c tio n S e l l - o s s e r ii o n Tonotion S e c u r ity C o u n tr y O C C O u n t 1 B u sin e ss In e n d H u n g e r 1 Divorce relorm P oliticol D isg u st 3 P re s id e n t
„
11 ^ o l th e ^ 12 U S A A p p e o l M ethodist c h u rc h S e l l -s u b m is s io nPart o f a dynam ic lattice.
Another aspect of the human character must now be addressed, human 'temperament or disposition. It was noted that Cattell used the term before in the context of trying to explain the almost inexplicable crossings, usings and triggerings of ergs and sentiments. However temperament is probably locked in the individual's genetic code. Temperament generally is related to the "Orectic" aspects of personality, i.e. that aspect of personality that expresses impulsiveness, appetite, desire, emotion etc. In most management texts four 'types' are referred to; these are sanguine, melancholic, choleric and phlegmatic temperaments In the generally accepted vernacular usage, these headings provide a form of key to the dynamism or energy of the particular individual. Cattell and Kline (1977) suggest that motivational and personality factors are independent (P. 194) though adding that in a "few" cases there are subsequent overlaps. The author feels that temperament is better measured in Ergs rather than delineating it into rigid sections. However it is interesting to speculate what temperament or ergs should a building designer display.
J.L. Holland (1966), defined six forms of motivational type, these are:
1. The Realistic Type; 2. The Intellectual Type; 3. The Social Type;
4. The Conventional T ype ; 5. The Enterprising Type; 6. The Artistic Type.
Holland considered that these interest types also identified m otivations,though erg and sentiment values were not clearly allocated in the tests. That certain values can be identified is useful. Klein (1975) describes Holland's tests for the human types as:
"Most suitable in terms of empirical research. They have more psychological meaning, can predict changes in motivation and long term motivational goals to some extent" (P. 143)
Any analysis of an individual's motivational drives becomes complex , again because of the nature of the subject and it may be that any of the "Freudian selfs" predominate, i.e. ego, superego, or even the 'id' (i.e. extrinsic, intrinsic and facinorous self).
3.9.2.2 : RELEVANCE TO THE RESEARCH
When the career or occupation of architect and building designer are constantly referred to as vocational, then what sort of motivation and type of individual is required to execute the role becomes important. To the extend that the word vocation has a series of 'trigger'
aspects to it such as; dedicated, calling, metier, forte, preordained etc, then clearly it is a career that requires more care in its choice by the individual practising it, than say as a postman or fast food waiter.
Roe (1987), states that the drive or the motivation to create obliges competing drives to assume subsidiary roles, thereby inducing a distinctive motivational profile. Simonton (1988) agrees, and suggests that creative personalities prefer time for reflection and thus they tend avoid interpersonal contact, social affairs, administrative responsibilities and political activities. Another important and relevant aspect to Simonton's (1984) work was that of productivity and motivation. High motivation usually results in high productivity. Barren (1969) agrees, stating that "voluminous" productivity is the rule of highly motivated, creative, or original thinking individuals. Holland (1966) also offers this opinion as does Rogers (1954).
The researcher noted that Cattell (1963), found that both historical and contemporary scientists tended to be schizothymie (i.e. withdrawn and internally preoccupied) and desurgent (i.e. introspective, restrained, brooding and solemn). Simonton (1988), gives two reasons for how he thinks creativity can be an introverted activity:
Firstly;
"That social interaction and activity necessarily inhibit creativity. To the extent that the presence of others implies the possibility of evaluation, this interference effect would therefore be heightened all the more".
Secondly;
"Creative people must retain an "internal locus of evaluation". Recognition of the need to spurn extrinsic pressures towards conforming to social expectations may be partly responsible for the insistence on independence often displayed by creative people", (p. 405).
The author has included these views, because of their often percieved contrary position vis a vis artistic creativity, yet it is concurrent with the SI model and the need for specific relative quantities of divergent ability ( no matter how small or large). For example, many artists appear to be the opposite, from Michelangelo (1475-1564) through to Salvador Dali (1904-1988)a great many have been excellent self-publicists demanding and generally obtaining centre stage positioning, often dramatic, controversial and regularly garish in their lifestyles. Others of course have had desurgent natures. Van Gough (1853-1890) is the prime example. There were many others but Steele (1987) states that the flamboyant, or eccentric, unconventional or uncommon character tends to dominate any personality profiling study of any artistic careers.
Kenneth Clark (1976) records that the lives of many artists, and in particular Millet and Constable, began as shy retiring somewhat introspective youths. However once they had achieved recognition as painters of renown their characters also changed, ranging from being great teachers to martinets. Clark also notes that others such as Goya, Géricault, Blake and Ingre were adventurous, tough and demanding of recognition from the earliest noted observations. Giorgio Vasari (1550) in his 'Lives of the A rtists' recorded the precociousness of all the Renaissance artists architects and sculptors. Botticelli, Donatello, Bellini, M asaccio, Giotto etc. O f the twenty artists which Vasari described in varying degrees of motivational detail, all without exception were gregarious, aspiring, assertive, regularly audacious, avaricious and ardently forceful. Interestingly he records that Giotto and Uccello ended up "solitary, eccentric, melancholic and poor. He notes that like Giotto, "Uccello was endowed by nature with a discriminating and subtle mind, but he was later motivated only in exploring certain difficult or rather impossible problems of perspective. He continues that, though fanciful and attractive, this hindered him so much when he came to paint figures, that the older he grew the worse he did them". Indeed Uccello seems to have been a bit of a hermit, who constructed his paintings with almost mathematical precision.
The variability and non-specificity of the profiles accentuated by Vasari in some ways parallel Roe's 1951 study of physical scientists. A t a simplistic level the writer would draw a parallel with Hudson's observations in "contrary imaginations" where he records in detail the attributes, abilities and character of 'divergent' and 'convergent' school children, the parallel with Uccello and possibly Giotto being convergers seems to be more than a possibility. Clearly, most creative artists require convergency as part of their character if only to be able to execute their creative ideas. However, it is alsoafter the case that once the creative 'genius' of the artist is recognised, such artists then employ assistants in order that they can spend more time generating ideas. The "great creator” in general begins the work the assistant works it up and then the 'master' com pletes the work. Also from any selection of artists chosen from history, Hatfield (1948) records that there is a high proportion of suicides or untimely deaths from such groups as compared to others. Vasari and Clark also identify that many of the artists and "high creatives" have indeed been manic depressives. Clark further suggests - that manic depression is one o f the personality indictors that may indicate high creativity. This concurs with Shapiro (1965), Hudson (1967) and Sedgwick (1982). The author would suggest that it may in some instances be a relevant indicator but the complexity of mental processing is such that the efficacy of such a statement must be cautioned until considerably more work is done in this area.
3.9.3.: CULTURE BLOCKERS
T h is idea w a s fo r m u la te d , in tro d u c e d by L e a ry ( 1964), in his text " W id e n in g e x p e rie n c e s in c reativ ity " . T h e s e m o d e ls dra w upon the total c r e a tiv e m o d el. L e a ry s u g g e s ts that any a n a ly s is o f c r e a tiv ity m u st be m u ltid im e n s io n a l. H e s u g g e s ts c r e a tiv ity c a n be "d irect fresh " o r it ca n be r e p r o d u c t i v e , i.e. w ith in th e in te r p r e t a t iv e f r a m e w o r k o f w h a t has a lr e a d y b e e n l e a r n e d . T h e w r ite r w o u ld s u g g e s t th a t r e p r o d u c t i v e c r e a t i v i ty c a n be d a n g e ro u s in the c o n te x t o f desig n schools, b e c a u s e the stu d e n t m a y see o nly w h a t he has