Archive for the ‘Creativity’ Category
What is going on in our brains when we are in our creative mode? Besides being in a flow state, what parts of the brain are we calling on to help us imagine and create? There are three major networks in use when creating: the default mode network (also known as the Imagination Network), the executive attention network, and the salience network. The default mode network is the part of the brain responsible for our “virtual reality” — when we daydream or imagine alternative scenarios of the past and possibilities of the future; the movies in our minds. The executive attention network comes into play when you’re hyper-focused. It’s best at problem-solving and concentrating. The salience network filters internal and external events and decides what’s important and what can best solve a task.
When these forces are combined, we are free-associating with the imagination network, focusing that imagination with the executive attention network, and both determining what is a good idea and staying with it using the salience network. If we are full of contradictions, going from focused to daydreaming, introspective to outwardly aware, weaving through dark and light, perhaps it is because our brains are particularly good at switching from one network to another.
Read also: The Real Neuroscience of Creativity
Cognitive neuroscience studies of creativity have appeared with increasing frequently in recent years. Yet to date, no comprehensive and critical review of these studies has yet been published. The ﬁrst part of this article presents a quick overview of the 3 primary methodologies used by cognitive neuroscientists: electroencephalography (EEG), positron emission tomography (PET), and functional magnetic resonance imaging (fMRI). The second part provides a comprehensive review of cognitive neuroscience studies of creativity-related cognitive processes. The third part critically examines these studies; the goal is to be extremely clear about exactly what interpretations can appropriately be made of these studies. The conclusion provides recommendations for future research collaborations between creativity researchers and cognitive neuroscientists.
Explaining Creativity is an accessible introduction to the latest scientific research on creativity. The book summarizes and integrates a broad range of research in psychology and related scientific fields. In the last 40 years, psychologists, anthropologists, and sociologists have devoted increased attention to creativity; we now know more about creativity than at any point in history. Explaining Creativity considers not only arts like painting and writing, but also science, stage performance, business innovation, and creativity in everyday life.
Sawyer’s approach is interdisciplinary. In addition to examining psychological studies on creativity, he draws on anthropologists’ research on creativity in non-Western cultures, sociologists’ research on the situations, contexts, and networks of creative activity, and cognitive neuroscientists’ studies of the brain. He moves beyond the individual to consider the social and cultural contexts of creativity, including the role of collaboration in the creative process.
Use these empirically backed tips to capture your next big idea.
Epstein, has conducted research showing that strengthening four core skill sets leads to an increase in novel ideas: Capture your new ideas; Seek out challenging tasks; Broaden your knowledge; and, Surround yourself with interesting things and people.
Many practices that lead to better overall well-being also boost innovative thinking. For instance, creativity researchers suggest you: Sleep on it; Collaborate—in writing; Let the sunshine in; and, Get happy.
Read also: Cognition, Creativity, and Behavior
It has been said that creative intelligence is the ability to invent goals, projects, and plans-in other words, we might say, to invent the future. A reasonable assumption is that the creative process consists of the formation of new cognits (brain circuits) , that is, new network representations in the cortex. These representations result mostly from divergent thinking as opposed to convert thinking. Convergent thinking consists of inductive and deductive reasoning, which converge towards logical inferences and the solution of problems. Divergent thinking, on the other hand, is free of logical constraints, autonomous and to some extent free-floating, reliant on the imagination, and minimally anchored in the immediate reality. Creative cognits emerge mainly from divergent thinking ….
Read also: Cortex and mind: unifying cognition
This book presents a unique synthesis of the current neuroscience of cognition by one of the world’s authorities in the field. The guiding principle to this synthesis is the tenet that the entirety of our knowledge is encoded by relations, and thus by connections, in neuronal networks of our cerebral cortex. Cognitive networks develop by experience on a base of widely dispersed modular cell assemblies representing elementary sensations and movements. As they develop cognitive networks organize themselves hierarchically by order of complexity or abstraction of their content. Because networks intersect profusely, sharing commong nodes, a neuronal assembly anywhere in the cortex can be part of many networks, and therefore many items of knowledge. All cognitive functions consist of neural transactions within and between cognitive networks. After reviewing the neurobiology and architecture of cortical networks (also named cognits), the author undertakes a systematic study of cortical dynamics in each of the major cognitive functions–perception, memory, attention, language, and intelligence….
Collaboration, open source data, and new types of ‘peer review’ that includes some type of crowdsourcing, is where we need to be headed. Open Access journals, such as PLoS One should be the standard, not the exception, for data sharing. There are some valiant attempts being made right now at adjusting to a new model of scientific research, specifically the addition of blogging platforms to increase science communication, but this isn’t enough, and too many of them are falling short of fully embracing a digital, open-sharing network model. Much of what I see is the same old paper model being squeezed into a digital platform; we need to scrap the old model altogether and come up with something completely different in order for it to work.
What are our options? Radical openness, for one. I mean REAL openness, inviting everyone in, not just a select few. I know, there will be validity issues to be addressed. Challenging? You betcha. But that shouldn’t stop it.
I know we can do this—we all just need to work together and embrace true collaboration. There is too much secretive hoarding of ideas, paranoia of being “scooped”, and competition in the race to publish. We can solve so many more of the world’s problems through collaboration— ideas sparking off each other, shining insight and gaining perspective in ways that are only possible when we pool our minds together. We need to put scientific discovery ahead of prestige and money if we are ever to break out of this information and creativity crisis. I know the brain power is there—let’s give it a platform in which to emerge, grow, and flourish.
The goal of this article is to summarize current brain research on intelligence and creativity that may be relevant to education in the near future. Five issues are addressed: (a) Why is there a neuroscience interest in intelligence? (b) Can intelligence be located in the brain? (c) Why are some brains smarter than others? (d) What do we know about creativity and the brain? and (e) Can information about an individual’s brain structure and function be useful to benefit his or her education? As we enter the 21st century, old controversies about measurement of intelligence are less relevant. Integrating neuroscience findings into education practices is a daunting challenge that will require educators to reexamine old ideas and acquire fundamental backgrounds in new areas.
Creativity, Problem Solving and Innovative Science: Insights from History, Cognitive Psychology and Neuroscience
This paper examines the intersection between creativity, problem solving, cognitive psychology and neuroscience in a discussion surrounding the genesis of new ideas and innovative science. Three creative activities are considered. These are (a) the interaction between visual-spatial and analytical or verbal reasoning, (b) attending to feeling in listening to the ‘self’, and (c) the interaction between conscious and non-conscious reasoning. Evidence for the importance of each of these activities to the creative process is drawn from (a) historical and introspective accounts of novel problem solving by noted scientists and mathematicians; (b) cognitive psychology and neuroscience; and (c) a recent empirical study of novel mathematics problem solving. An explanation of these activities is given in terms of cognitive neuroscience. A conceptual framework connecting each of these activities is presented and the implications for learning and teaching considered.
This article outlines a framework of creativity based on functional neuroanatomy. Recent advances in the field of cognitive neuroscience have identified distinct brain circuits that are involved in specific higher brain functions. To date, these findings have not been applied to research on creativity. It is proposed that there are four basic types of creative insights, each mediated by a distinctive neural circuit. By definition, creative insights occur in consciousness. Given the view that the working memory buffer of the prefrontal cortex holds the content of consciousness, each of the four distinctive neural loops terminates there. When creativity is the result of deliberate control, as opposed to spontaneous generation, the prefrontal cortex also instigates the creative process. Both processing modes, deliberate and spontaneous, can guide neural computation in structures that contribute emotional content and in structures that provide cognitive analysis, yielding the four basic types of creativity. Supportive evidence from psychological, cognitive, and neuroscientific studies is presented and integrated in this article. The new theoretical framework systematizes the interaction between knowledge and creative thinking, and how the nature of this relationship changes as a function of domain and age. Implications for the arts and sciences are briefly discussed.