Neurology and Creative Thought: Some Thoughts About Working Memory,the Cerebellum,and Creativity

Abstract

Students of creativity have long been interested in the neurological mechanisms that underlie creative thought. Vandervert, Schimpf, and Liu (this issue) have proposed a new model of the neurological mechanisms that give rise to creative thought. In the present commentary, we examine this model for what it might tell us about creative problem solving. We conclude that the proposed model is in line with much of what is known about creative problem solving. However, certain key predictions of this model, for example the role of visual images and basic cognitive images, are questioned. The implications of these observations for future neurological research are discussed.     

Artists' vulnerability to psychopathology: Towards an integrative cognitive perspective

A relationship is commonly reported between high levels of artistic creativity and mental health problems (e.g., depression or psychosis), and it is now becoming clearer that the divergent cognitive style associated with creativity has commonalities with some of the processes involved in the development and maintenance of some psychological difficulties. Our aim was to investigate the nature of this cognitive style. More specifically, we considered the profile of probabilistic reasoning and associated problem solving abilities, as both of these mechanisms have been found to be integral to major forms of clinical dysfunction. We assessed levels of creative potential, mood, probabilistic reasoning, and problem solving abilities in 66 arts and 85 science undergraduate volunteers. As predicted, art students showed higher levels of creative potential and experienced lower levels of mood than their science peers. Differences in probabilistic reasoning were observed which are in keeping with the pattern reported to be present in those suffering with psychosis in that they tended to ‘jump to conclusions’. Art students also displayed both poorer problem solving abilities and self‐appraisal of their problem solving skills. Our results extend previous findings associated with the mediating role of cognitive processes in the relationship between creativity and some forms of psychopathology. Implications for the prevention and treatment of psychological difficulties in the creative are highlighted.     

Creative Thinking: Processes,Strategies, and Knowledge

Creative achievements are the basis for progress in our world. Although creative achievement is influenced by many variables, the basis for creativity is held to lie in the generation of high‐quality, original, and elegant solutions to complex, novel, ill‐defined problems. In the present effort, we examine the cognitive capacities that make creative problem‐solving possible. We argue that creative problem‐solving depends on the effective execution of a set of complex cognitive processes. Effective execution of these processes is, in turn, held to depend on the strategies employed in process execution and the knowledge being used in problem‐solving. The implications of these observations for improving creative thinking are discussed.     

Team Mental Models,Team Goal Orientations,and Information Elaboration,Predicting Team Creative Performance

This study aimed to enhance understanding of team creativity by investigating the type of team mental models that team members develop during their work on a creative problem solving task. We hypothesized that teams that develop dissimilar team mental models, compared to similar and complementary team mental models, will achieve a higher information elaboration. This effect will be moderated by the development of a high learning-performance team goal orientation. Information elaboration in turn was hypothesized to predict team creative performance. In a 3 (similar/dissimilar/complementary team mental models) × 3 (learning/performance/learning-performance goal orientation) experimental study on a sample of 33 teams (N = 98) we found that teams that developed more dissimilar team mental models and experienced a learning-performance goal orientation intervention engaged in more information elaboration. Information elaboration, in turn, mediated the relationship between the interaction between team mental models and team goal orientations and team creative performance. Implications for research on team mental models and team creativity are discussed.     

The Facilitative Effects of Ambiguous Figures on Creative Solution

Empirical studies of creativity emphasize the importance of ambiguity advantage in idea generation and creative problem‐solving. This study examined whether ambiguous figures could directly induce a mind‐set that would transfer to the creative problem‐solving. In Experiment 1, we examined whether presentation of ambiguous figures would influence participants' performance in alternative uses tasks, and the results showed that prior exposure to ambiguous figures significantly enhanced participants' performance in the dimension of fluency, flexibility, and originality than those exposed to non‐ambiguous figures; in general uses tasks, there were no significant difference in the reaction time and originality between the ambiguous figure condition and non‐ambiguous figure condition. In Experiment 2, the facilitative effect of ambiguous figures on creative thinking was further examined with creative story generation tasks that demand more mental effort and increased cognitive load. Results showed that creativity of stories generated in ambiguous figure condition was scored significantly higher than those in non‐ambiguous figure condition. The current research extends our understanding of the facilitative effect of ambiguous figures on creative problem‐solving.     

Promoting Creativity at Work: The Role of Problem‐Solving Demand

We propose that problem‐solving demand (PSD) is an important job attribute for employees' creative performance. Applying job design theory, we examined the relationship between PSD and employee creativity. The theorised model was tested with data obtained from a sample of 270 employees and their supervisors from three Chinese organisations. Regression results revealed that PSD was positively related to creativity, and this relationship was mediated by creative self‐efficacy. Additionally, intrinsic motivation moderated the relationship between PSD and creative self‐efficacy such that the relationship was stronger for individuals with high rather than low intrinsic motivation. We discuss our findings, implications for practice, and future research.     

Transformational Leadership and Creative Problem‐Solving: The Mediating Role of Psychological Safety and Reflexivity

Previous research has pointed to the importance of transformational leadership in facilitating employees' creative outcomes. However, the mechanism by which transformational leadership cultivates employees' creative problem‐solving capacity is not well understood. Drawing on theories of leadership, information processing and creativity, we proposed and tested a model in which psychological safety and reflexivity mediate the effect of transformational leadership and creative problem‐solving capacity. The results of survey data collected at three points in time indicate that transformational leadership facilitates the development of employees' creative problem‐solving capacity by shaping a climate of psychological safety conducive to reflexivity processes. However, the findings also indicate that psychological safety is related both directly and indirectly, through reflexivity, to employees' creative problem‐solving capacity. This study sheds further light on the ways in which transformational leaders help to develop and cultivate employees' capacity for creative problem‐solving.     

Tradeoffs Between Ideas and Structure: Individual Versus Group Performance in Creative Problem Solving

The present effort was intended to assess how situational variables influence the relative performance of groups and individuals on creative problem-solving tasks. More specifically, a priming manipulation was used to increase the number of alternatives available for problem solving while training was used to provide groups with shared mental models bearing on the problem. It was found that having more ideas available led to better individual performance. Group performance, however, was enhanced by training appropriate to problem content that allowed for elaboration and refinement of ideas. These findings indicate that interventions intended to enhance creativity may have different effects at the individual and group level. The need to consider multiple levels of situational influences in attempts to understand creative achievement is discussed.     

Creativity,preference for complexity,and physical and mental illness

Mental illness might be associated with creative achievement among highly functioning people, but with the mentally ill or with ordinary people, there might be a negative relationship. In Study 1, two measures of creativity (preference for complexity and writing stories rated for creativity) were administered to 37 psychotics. The psychotics were found to be less creative than the control group. Study 2 investigated physical illness and its effects on preference for complexity. People (N=80) diagnosed as having influenza decreased in preference for complexity, suggesting a decline in creativity. However, no significant results occurred with regard to complexity preference and diabetes or genital herpes. The results suggest that physical or mental illness may decrease creativity.     

Mental contrasting turns positive feedback on creative potential into successful performance

In two studies employing a creativity test (i.e., solving insight problems), we hypothesized and observed that mental contrasting of a desired future with present reality (Oettingen, Pak, & Schnetter, 2001) transforms positive feedback into strong performance. Participants received positive or moderate bogus feedback on their creative potential and then engaged either in mental contrasting, indulging in the desired future, dwelling on present reality, or irrelevant contrasting with respect to taking a creativity test. Mental contrasting participants who received positive feedback performed better than those who received moderate feedback. They also performed better than indulging, dwelling, and irrelevant contrasting participants, regardless of the feedback received. By manipulating expectations of success through bogus feedback, the present research adjusts for confounding variables and validates previous findings showing that mental contrasting produces expectancy-dependent goal commitments and performance. Implications for designing interventions to enhance people's creativity are discussed.     

科学发明问题解决的脑机制再探

选取高生态学效度的科学发明问题作为实验材料, 采用“学习−测试”的两阶段实验范式, 利用静息态功能磁共振成像技术, 基于局部一致性(ReHo)和低频振幅(ALFF)的分析方法, 研究科学发明问题解决的神经机制。在控制被试性别、年龄和常规性问题解决能力后, 结果发现左侧前扣带回(Anterior Cingulate Cortex, ACC)的ReHo值和个体科学发明问题解决的正确率显著正相关, ALFF的结果同样印证了这一发现。结果强调了ACC在科学发明问题解决过程中的重要作用。     

Emergent representations, interaction theory and the cognitive force of metaphor

We focus here on the problem of how new representations emerge through a cognitive agent's interaction with the environment. We address this problem within a framework where representation-building mechanisms operate to create new representations against a backdrop of existing representations, and argue that novel and creative metaphors in any language provide a prime example of this phenomenon. Our approach to modeling the emergence of representation integrates ideas from three different streams of research: (1) the interaction theory of metaphor proposed by Black and others to account for the creativity of metaphors; (2) gestalt theories of perception; and (3) contemporary research supporting a constructivist and action-oriented view of perception and cognition. Combining these insights together, we outline our Gestalt projection model, and discuss three different ways in which new representations might emerge through metaphors. Finally, we propose that metaphor may be viewed as a cognitive force through which a cognitive agent asserts its creative spirit onto the environment.     

Gender Differences in the Measurement of Creative Problem‐Solving

Despite significant scholarly attention, the literature on the existence and direction of gender differences in creativity has produced inconsistent findings. In the present paper, we argue that this lack of consensus may be attributable, at least in part, to gender‐specific inconsistencies in the measurement of creative problem‐solving. To explore this possibility, we empirically tested assumptions of multiple‐group measurement invariance using samples borrowed from four recent studies that assessed creative problem‐solving (J.D. B arrett et al., 2013; K.S. H ester et al., 2012; D.R. P eterson et al., 2013; I.C. R obledo et al., 2012). Across the four samples, apparent gender differences emerged on all three components of S.P. B esemer & K. O 'Q uin's (1999) three‐facet model of creativity (i.e., quality, originality, and elegance) such that, on average, females appeared to exhibit higher baseline levels of creativity. However, in light of violations of measurement invariance assumptions across genders found in these samples, comparisons such as these may not ultimately be appropriate. Although the underlying factor structure and factor loadings on a unitary creativity factor were consistent across gender (i.e., weak factorial invariance), measurement in‐equivalence assumptions were violated at the subfacet level (i.e., strong factorial invariance). Implications of these findings for understanding gender differences in creative problem‐solving are discussed.     

Proactive Vitality Management and Creative Work Performance: The Role of Self-Insight and Social Support

Integrating proactivity and creativity literatures, we argue that people can perform more creatively at work when they proactively manage their levels of vitality. Proactive vitality management is defined as individual, goal-oriented behavior aimed at managing physical and mental energy to promote optimal functioning at work. We hypothesize that this process may be facilitated by being aware of one's own state and by support from others. A total of 242 employees participated in a weekly diary study for three consecutive weeks, yielding 610 observations. Results of multilevel analyses show that participants reported more creative work performance during weeks in which they had proactively used vitality management. In addition, in line with our predictions, self-insight and social support for creativity in the workplace acted as cross-level moderators and strengthened the relationship between proactive vitality management and creativity. We conclude that a proactive approach regarding physical and mental energy is an important bottom-up strategy that may foster creativity in work settings.     

The Relationship between Creativity and Interpersonal Problem-Solving Skills in Adults

The present study evaluated whether creativity training and interpersonal problem-solving training reflect equivalent or complementary skills in adults. A sample of 74 undergraduates received interpersonal problem-solving training, creativity training, neither, or both. Dependent variables included measures of problem-solving and creative performance, and problem-solving and creative style. The results suggested that creativity and interpersonal problem-solving represent complementary skills, in that each training program specifically affected performance only on related measures of performance. A combination of programs affected both abilities. Creativity training and interpersonal problem-solving training are popular psychoeducational interventions that developed in isolation from each other. Originally thought of as a mysterious process, the empirical analysis of the creative act can be traced to the work of Wallas (1926). Under the assumption that creativity is a desirable trait, a number of scales and training programs have been developed to measure and enhance creative skills. Creativity training has been used primarily in educational and industrial settings (e.g., Basadur, 1981). The principles of interpersonal problem-solving training have emerged more recently, in the work of Spivack and Shure (1974; Spivack, Platt, & Shure, 1976) and D'Zurilla (D'Zurilla & Goldfried, 1971; D'Zurilla & Nezu, 1982). These authors conceptualized interpersonal problem-solving training in the context of behavior therapy, and for this reason the literature on interpersonal problem-solving is more closely associated with therapeutic settings. Creativity and interpersonal problem-solving skills can be conceptually distinguished on the basis of their goals. Interpersonal problem-solving refers to one's skill in determining the means by which to achieve a specific end or overcome a specific problem. Creativity, on the other hand, need not be oriented towards achieving specific ends; it is associated with the capacity for thinking in new and different ways. Koestler (1964) has even argued that these two goals can be inimical, at least in adults, in that the ability to combine information in unique ways may be. hindered when the individual focuses his or her thinking on a specific problem. At the same time, there are clear similarities between the two domains of skills. Guilford (1977) noted that “creative thinking produces novel outcomes, and problem-solving involves producing a new response to a new situation, which is a novel outcome” (p. 161). Edwards and Sproull (1984) saw creativity training as a method for improving the quality of solutions to problems and increasing personal effectiveness. They considered problem-solving synonymous with creativity, since both training programs offer a variety of techniques to help identify useful solutions to problems. Similarly, Noller (1979) and others (e.g., Isaksen, Dorval, & Treffinger, 1994) have discussed the concept of creative problem solving, which attempts to integrate principles in the literature on creativity and on problem solving. Isaksen et al. conceptualized the process of creative problem solving as consisting of six steps which fall within three stages. The first stage involves understanding the problem, consisting of three steps: mess-finding, data-finding, and problem-finding. This is followed by the stage of generating ideas, involving the idea- finding step. Finally, there is planning for action, which involves solution-finding and acceptance-finding. The most important difference between the various creativity training models and the interpersonal problem-solving model lies in their emphasis. Creativity training models focus primarily on enhancing skill at generating solutions. The interpersonal problem-solving model places equal emphasis on the implementation and evaluation of potential solutions. Although many authors have suggested that participation in creativity training will have positive effects on social and interpersonal functioning (e.g., Parnes, 1987), only two studies have been conducted examining the relationship between the interpersonal problem-solving training model and creativity skills. Miller, Serafica, and Clark (1989) and Shondrick, Serafica, Clark, and Miller (1992) found that interpersonal problem-solving training for children also enhanced creativity skills, and that children's creative abilities appear to be predictive of their interpersonal problem-solving skills. The question of whether creativity and interpersonal problem-solving are equivalent, complementary, or even inimical has not been adequately addressed in the existing literature. For one thing, there are no studies examining the relationship between the two constructs in adults. This is an important question, given Koestler's (1964) conclusion that they are potentially inconsistent among adults. Second, there are no studies at all regarding the impact of creativity training on problem-solving skills in adults. The purpose of the present study was to evaluate whether creativity and interpersonal problem-solving skills can be distinguished in an adult sample.     

A Visual Representation to Quantitate,Diagnose, and Improve Creativity in Insight Problem Solving

A new visual representation for insight problems permits 22 new quantitative measures; which leads to a detailed diagnosis of a person's (or team's) creative weaknesses; which then leads to prescribing targeted, effective counter‐techniques for each weakness. Currently, only two measures are consistently used for insight problem solving: the number of problems solved and the time to solve the problems. These coarse measurements do not reveal the intricate dynamics of solving insight problems. Furthermore, four commonly used creativity measures (i.e., fluency, originality, flexibility, and elaboration) are often not applied to insight problems. This new visualization permits the easy application of all four creativity measures. I challenge creativity researchers to help determine which of the 22 proposed quantitative measures are the most diagnostic for insight problem solving in isolation and, in a weighted linear combination, which might yield an effective quotient (i.e., overall measure) of insight problem solving ability.     

创造性问题解决中的联想能力及其作用

长期以来,研究者一直认为联想能力与创造力之间存在着紧密的联系,但相关的实证研究并不能很好地支持这一论断,这可能是由于联想能力的界定不清所造成的。本研究梳理了以往研究中联想能力与创造力的关系,在此基础上辨析了联想能力测验所反映的实质,进一步提出了一个创造性问题解决中联想能力的作用模型：（1）联想能力主要作用于创造性问题解决中的重构阶段;（2）存在三种相对独立的联想能力,它们对空间类顿悟问题和言语类顿悟问题的影响不同;（3）联想内容中经验关系的联想能力与领域一般创造力关联最密切。     

大学生心理健康、创造性人格与创造力关系的模型建构

通过问卷法对我国八大行政区10所不同类型学校的1043名大学生进行调查研究。从创造性思维和创造性人格多侧面认识大学生创造力的特点,从医学模式以及人格角度了解大学生心理健康的状况,在此基础上,借助现代统计技术———结构方程模型,揭示心理健康、个性和创造力之间的关系;将创造力作为内源潜变量,心理健康和创造性人格作为外源潜变量,三者构成的结构模型是可以接受的,该模型表明,大学生的创造力受其创造性人格和心理健康的积极影响。     

Motivation and creativity: Toward a synthesis of structural and energistic approaches to cognition

Cognitive scientists who model creative thinking on computers claim that the ability of their programs to replicate the discovery of scientific laws (e.g., Kepler's third law from Brahe's data) means that creative thinking in humans is nothing but problem solving of the kind computer heuristics use. This claim is shown to be a mystification based on a misunderstanding of creativity, on unrealistic replications of the initial conditions present at the inception of creative processes, and on a misleading identification of rationality with complex human thought processes. Some of the implications of such mystification for understanding thought processes in general are reviewed.