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E-grāmata: Neuroscience of Creativity

4.06/5 (49 ratings by Goodreads)
(Leeds Beckett University)
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The Neuroscience of Creativity introduces readers to the fascinating study of creativity and the brain, providing both the tools for further study and an explanation of the latest neuroscientific findings. Directed at a wide readership, it is a helpful guide into creativity research for students, researchers and non-specialists alike.

What happens in our brains when we compose a melody, write a poem, paint a picture, or choreograph a dance sequence? How is this different from what occurs in the brain when we generate a new theory or a scientific hypothesis? In this book, Anna Abraham reveals how the tools of neuroscience can be employed to uncover the answers to these and other vital questions. She explores the intricate workings of our creative minds to explain what happens in our brains when we operate in a creative mode versus an uncreative mode. The vast and complex field that is the neuroscience of creativity is disentangled and described in an accessible manner, balancing what is known so far with critical issues that are as yet unresolved. Clear guidelines are also provided for researchers who pursue the big questions in their bid to discover the creative mind.

Recenzijas

'This work is a scientific tour-de-force, which shatters the established methods of parochialism, tribalism, and solipsism that permeate scientific inquiry. Dr Abraham has re-established the normative standards of curiosity, rigor, and keen scepticism that this field so desperately needs, and so deservedly warrants. Her book is the new standard on how creativity is manifested in the human brain.' Rex Jung, University of New Mexico 'The brilliance of this book is its balance. Abraham is the foremost experimental neuroscientist working on creativity and she manages to do the seemingly impossible in this book: provide a clear-headed and evenly-keeled analysis of the state of affairs in the field. If you want to know where we stand on the neuroscience of creativity, this is the book to get.' Arne Dietrich, American University Beirut, Lebanon 'Anna Abraham, one of the foremost scholars of the creative brain, has written a genuinely indispensable book. Comprehensive and insightful, it's an essential text for the quickly growing field of creativity neuroscience.' Paul J. Silvia, University of North Carolina, Greensboro 'Neuroscience of Creativity is the right book at the right time by the right person. One of the people to successfully straddle neuroscience and creativity, Abraham is a special position to cover this vast and growing topic. She is able to take complicated concepts and break them down with clear language and fascinating examples.' James C. Kaufman, University of Connecticut 'This refreshing book provides a fascinating, nuanced overview of an emerging field that needs to be read by both scientists and non-scientists alike. Dr Abraham addresses not only that which is already clear, but also the many gray zones that demand further clarification as we examine the great significance of the human brain in creativity.' Charles J. Limb, University of California, San Francisco 'In this excellent book, the noted neuroscientist Anna Abraham explains everything currently known about creativity and the brain - from theory to latest empirical advancements in a comprehensive, well-structured, engaging and critical way. An ideal resource for students, scholars and everybody aiming for a well-founded understanding of the neuroscience of creativity.' Mathias Benedek, University of Graz, Austria 'In this outstanding contribution, Anna Abraham excellently examines neuroscientific research into creativity. She ignites interest and facilitates understanding by placing theories in their relevant contexts with fresh and classical examples throughout. This book is a must for neuroscience researchers and a profound resource for every serious creativity scholar.' Ingegerd Carlsson, Lund University, Sweden 'This volume provides a solid framework that enables readers to understand the latest in the neuroscience of creativity and gives researchers further tools for advancing this exciting new field.' Scott Barry Kaufman, Co-author of Wired to Create: Unravelling the Mysteries of the Creative Mind 'It occupies a useful and necessary niche, with distinction. Of all the books I have recently read on the neuroscience of creativity (even beyond those reviewed here), it is a clear first choice as a prospective classroom text for this intersection of topics.' Aaron Kozbelt, Evolutionary Studies in Imaginative Culture

Papildus informācija

Discover how the creative brain works across musical, literary, visual artistic, kinesthetic and scientific spheres, and how to study it.
List of Figures page
xii
List of Boxes
xiv
Preface xvii
Acknowledgments xix
1 What Is Creativity?
1(23)
1.1 Recognizing Creativity
1(6)
1.1.1 Scientific Domains
1(3)
1.1.2 Artistic Domains
4(3)
1.2 Defining Creativity
7(5)
1.2.1 Comprehensiveness in Defining Creativity
9(2)
1.2.2 Critical Factors to Keep in Mind When Defining Creativity
11(1)
1.3 Understanding "Appropriateness" Appropriately
12(3)
1.4 Challenges in Recognizing or Evaluating Creativity
15(5)
1.4.1 How Do We "Recognize" Creativity?
15(2)
1.4.2 To What Extent Can We Agree about Creativity?
17(2)
1.4.3 Consciousness and Creativity
19(1)
1.5 The Purpose of Creativity
20(4)
1.5.1 A Road Map for Using this Book
21(3)
2 How Can Creativity Be Assessed?
24(27)
2.1 Approaches to Investigating Creativity
24(15)
2.1.1 Person
25(3)
2.1.2 Product
28(3)
2.1.3 Press/Place
31(3)
2.1.4 Process
34(4)
2.1.5 Issues for Further Consideration
38(1)
2.2 Assessing Creativity: Person Measures
39(2)
2.2.1 Divergent Thinking Test Batteries
39(1)
2.2.2 Self-Report Measures
40(1)
2.3 Assessing Creativity: Process Measures
41(6)
2.3.1 Convergent Thinking Tasks
42(2)
2.3.2 Process-General Divergent Thinking Tasks
44(2)
2.3.3 Process-Specific Divergent Thinking Tasks
46(1)
2.4 Assessing Creativity: Product Approach
47(1)
2.5 Issues for Further Consideration
47(4)
3 Cognitive Explanations of Creativity
51(27)
3.1 Explanations of Creativity
51(2)
3.2 Focus on Individual Differences
53(8)
3.2.1 Knowledge Storage: Associative Hierarchies
53(2)
3.2.2 Knowledge Access or Retrieval: Defocused Attention
55(3)
3.2.3 Attentional States: Disinhibition
58(2)
3.2.4 Summary: Individual Differences-Based Cognitive Explanations
60(1)
3.3 Focus on Intra-Individual Dynamics
61(6)
3.3.1 Stages of the Creative Process: Wallas Model
61(4)
3.3.2 Stages of the Creative Process: Geneplore Model
65(1)
3.3.3 Summary: Intra-Individual-Based Cognitive Explanations
66(1)
3.4 Creative Cognition: Relevant Operations
67(7)
3.4.1 Insight
67(1)
3.4.2 Analogy
68(1)
3.4.3 Metaphor
69(1)
3.4.4 Imagery
70(1)
3.4.5 Conceptual Expansion
71(1)
3.4.6 Overcoming Knowledge Constraints
72(1)
3.4.7 Flow
73(1)
3.5 Issues for Further Consideration
74(4)
4 Brain-Based Global Explanations of Creativity
78(25)
4.1 The Physiological Approach to Creativity
78(3)
4.2 Dual-Factor Models
81(13)
4.2.1 Right Brain over Left Brain
81(4)
4.2.2 Reduced Concept-Driven Thought or Top-Down Control
85(4)
4.2.3 Brain Networks Perspective
89(4)
4.2.4 What Speaks against Dual-Factor Global Explanations?
93(1)
4.3 Multiple-Factor Models
94(7)
4.3.1 An Evolutionary Brain Networks Perspective
95(2)
4.3.2 An Evolutionary Predictive Perspective
97(3)
4.3.3 What Speaks against Multiple-Factor Models?
100(1)
4.4 A Final Word
101(2)
5 Brain-Based Local Explanations of Creativity
103(23)
5.1 The Local Approach to Creativity
103(3)
5.2 Brain-to-Process Explanations
106(9)
5.2.1 Frontal Lobe Function/Dysfunction
107(3)
5.2.2 Basal versus Transient Hypofrontality
110(2)
5.2.3 Alpha Wave-Related Brain Activity
112(2)
5.2.4 Other Specific Brain Regions of Interest
114(1)
5.3 Process-to-Brain Explanations
115(8)
5.3.1 Insight
117(1)
5.3.2 Analogical Reasoning
118(1)
5.3.3 Metaphor
119(1)
5.3.4 Conceptual Expansion
120(1)
5.3.5 Overcoming Knowledge Constraints
121(1)
5.3.6 Imagery
122(1)
5.4 Critical Evaluation of Local Explanations
123(3)
6 Neuroscientific Methods in the Study of Creativity
126(29)
6.1 Mapping the Brain: Gross Anatomy, Electrical Activity, and Blood Flow
126(4)
6.2 Functional Neuroimaging Methods
130(9)
6.2.1 rCBF via Radioactive Tracer Techniques
131(4)
6.2.2 fMRI
135(2)
6.2.3 fMRI Connectivity
137(2)
6.3 Structural Neuroimaging Methods
139(5)
6.3.1 Surface-Based and Voxel-Based Approaches
140(1)
6.3.2 Diffusion Tensor Imaging (DTI)
141(3)
6.4 Electroencephalogram (EEG) Methods
144(5)
6.4.1 Power
145(3)
6.4.2 Evoked Potentials
148(1)
6.5 Neuromodulation Methods
149(3)
6.5.1 Neuromodulation and Creative Cognition
150(2)
6.6 Issues for Further Consideration
152(3)
7 Unique Problems in the Neuroscientific Study of Creativity
155(18)
7.1 Problems? What Problems?
155(3)
7.2 The Problem of Trials
158(3)
7.2.1 Number of Trials
159(1)
7.2.2 Duration of Trials
160(1)
7.3 The Problem of Responses
161(2)
7.3.1 Non-Binary and Subjective Responses
161(1)
7.3.2 Response-Induced Movement
162(1)
7.3.3 Post-Neuroimaging Response Entry
163(1)
7.4 The Problem of Tasks
163(2)
7.4.1 Creativity Task Variability
164(1)
7.4.2 Less-Demanding Control Tasks
164(1)
7.5 The Problem of Groups
165(2)
7.6 The Problem of Validity
167(2)
7.7 How to Deal with Problems?
169(4)
8 Musical Creativity
173(27)
8.1 Music and Musicality
173(3)
8.2 Music Perception
176(4)
8.2.1 Rhythm, Pitch, and Affect
176(1)
8.2.2 Post-Training Effects
177(3)
8.3 Music Performance
180(4)
8.3.1 Behavioral Characteristics
181(1)
8.3.2 Brain Basis
182(2)
8.4 Music Composition
184(5)
8.4.1 Behavioral Studies
186(2)
8.4.2 Neuroscientific Studies
188(1)
8.5 Musical Improvisation
189(6)
8.5.1 Behavioral Characteristics
190(2)
8.5.2 Brain Correlates
192(3)
8.6 Music and Brain Plasticity
195(5)
9 Literary Creativity
200(26)
9.1 Creativity in Language and Literature
200(2)
9.2 Literary Creativity: Factors, Processes, and Stages
202(6)
9.2.1 Person-Based/Individual Factors
203(2)
9.2.2 Process and Constraints
205(1)
9.2.3 Stages/Components of Creative Writing
206(2)
9.3 Language and the Brain
208(4)
9.4 Literary Creativity and the Brain
212(10)
9.4.1 Verbal Divergent Thinking Tasks
214(2)
9.4.2 Metaphor and Other Forms of Semantic Leaps
216(2)
9.4.3 Story Generation
218(1)
9.4.4 Prose
218(3)
9.4.5 Poetry and Lyrics
221(1)
9.5 Issues for Further Consideration
222(4)
10 Visual Artistic Creativity
226(24)
10.1 Visual Art and the Plastic Brain
226(1)
10.2 Information Processing in Visual Artistic Creativity
227(9)
10.2.1 Visuospatial Ability
229(2)
10.2.2 Drawing and Hand-Eye Coordination
231(2)
10.2.3 Imagery
233(2)
10.2.4 Synesthesia
235(1)
10.3 Visual Artistic Creativity and the Healthy Brain
236(6)
10.3.1 Visual Divergent Thinking
237(1)
10.3.2 Creative Imagery and Drawing
238(3)
10.3.3 Artistic Expertise and Training
241(1)
10.4 Visual Artistic Creativity and the Disordered Brain
242(4)
10.4.1 Brain Injury in Artists
243(1)
10.4.2 Dyslexia
244(1)
10.4.3 De Novo Artistic Proficiency
245(1)
10.5 Issues for Further Consideration
246(4)
11 Kinesthetic Creativity
250(26)
11.1 Creativity in Body Movement: Is This a Real Thing?
250(3)
11.2 Concepts Relevant to Psychology and Neuroscience
253(4)
11.2.1 Common Coding, Mirror Neurons, and Embodied Cognition
253(1)
11.2.2 Joint Improvisation
254(1)
11.2.3 Flow: The Cornerstone of Kinesthetic Creativity?
255(2)
11.3 Dance
257(11)
11.3.1 Information Processing in Dance
259(1)
11.3.2 Neural Processing in Dance
260(5)
11.3.3 Creativity in Dance: What about Theoretical Viewpoints?
265(3)
11.4 Sports
268(8)
11.4.1 Neural and Information Processing in Sports
269(3)
11.4.2 Creativity in Sports
272(4)
12 Scientific Creativity
276(19)
12.1 Scientific Creativity is Understudied
276(3)
12.2 Mental Operations Relevant to Scientific Creativity
279(11)
12.2.1 Deductive, Inductive, and Abductive Reasoning
279(4)
12.2.2 Analogical and Relational Reasoning
283(3)
12.2.3 Problem Solving and Insight
286(3)
12.2.4 Breadth of Knowledge
289(1)
12.3 Theoretical Views of Scientific Creativity
290(2)
12.4 Issues for Further Consideration
292(3)
Afterword - From Cave Art to Latte Art 295(2)
References 297(68)
Index 365
Anna Abraham is a professor of psychology at the School of Social Sciences of Leeds Beckett University. She is a fellow of the Royal Society of the Arts, the Salzburg Global Seminar, and the Higher Education Academy. She is also a Member of the International Society for Fiction and Fictionality Studies, the Association for Psychological Science, the Cognitive Neuroscience Society, and the American Psychological Association's Division 10: Society for the Psychology of Aesthetics,  Creativity and the Arts. Abraham edited the 2015 book Madness and Creativity: Yes, No or Maybe? and has authored numerous publications on the human imagination.