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