The promises and perils of the neuroscience of creativity.

Our ability to think creatively is one of the factors that generates excitement in our lives as it introduces novelty and opens up new possibilities to our awareness which in turn lead to developments in a variety of fields from science and technology to art and culture. While research on the influence of biologically-based variables on creativity has a long history, the advent of modern techniques for investigating brain structure and function in the past two decades have resulted in an exponential increase in the number of neuroscientific studies that have explored creativity. The field of creative neurocognition is a rapidly growing area of research that can appear chaotic and inaccessible because of the heterogeneity associated with the creativity construct and the many approaches through which it can be examined. There are also significant methodological and conceptual problems that are specific to the neuroscientific study of creativity that pose considerable limitations on our capacity to make true advances in understanding the brain basis of creativity. This article explores three key issues that need to be addressed so that barriers in the way of relevant progress being made within the field can be avoided. Are creativity neuroimaging paradigms optimal enough?What makes creative cognition different from normative cognition?Do we need to distinguish between types of creativity

A Manifesto of Nodalism

This paper proposes the notion of Nodalism as a means describing contemporary culture and of understanding my own creative practice in electronic music composition. It draws on theories and ideas from Kirby, Bauman, Bourriaud, Deleuze, Guatarri, and Gochenour, to demonstrate how networks of ideas or connectionist neural models of cognitive behaviour can be used to contextualize, understand and become a creative tool for the creation of contemporary electronic music

The Use of Rhyme, Rhythm, and Melody as a Form of Repetition Priming to Aid in Encoding, Storage, and Retrieval of Semantic Memories in Alzheimer’s Patients

Millions are diagnosed with Alzheimer’s disease annually which can have debilitating effects on patient memory. Thus, finding new ways to help facilitate memory in these patients, especially through non-pharmaceutical means, has become increasingly important. I examined the use of melody, rhyme, and rhythm as encoding mechanisms to aid in the retrieval of long term semantic information by juxtaposing scholarly articles detailing experiments, each of which examined the effects of various facets of memory facilitation; this helped produce an idea of which devices are most effective. Additionally, I surveyed studies highlighting limitations of song implementation to craft an effective plan to aid Alzheimer’s patients. Melody, rhyme, and rhythm provide an organizational structure to facilitate the encoding of information. Specifically, chunking, the grouping of smaller units into larger ‘chunks’, helps facilitate long term encoding in patients, and is the byproduct of the organizational structure of a text. A major drawback of using these devices is the loss in the depth of encoding semantic information; however, it is important to recognize music still assists general content memory. Therefore, Alzheimer’s patients would benefit from the use of melody as it would provide a moral support, helping familiarity with their surroundings, although they would not benefit from instructional song. Future experiments may study the combination of discussed factors in various settings to examine the unique benefits of music on memory in Alzheimer’s patients

Computer Simulation of Musical Evolution: A Lesson from Whales

Simulating musical creativity using computers needs more than the ability to devise elegant computational implementations of sophisticated algorithms. It requires, firstly, an understanding of what phenomena might be regarded as music; and, secondly, an understanding of the nature of such phenomena — including their evolutionary history, their recursive-hierarchic structure, and the mechanisms by which they are transmitted within cultural groups. To understand these issues it is fruitful to compare human music, and indeed human language, with analogous phenomena in other areas of the animal kingdom. Whale song, specifically that of the humpback (Megaptera novaeangeliae), possesses many structural and functional similarities to human music (as do certain types of birdsong). Using a memetic perspective, this paper compares the “musilanguage” of humpbacks with the music of humans, and aims to identify a number of shared characteristics. A consequence of nature and nurture, these commonalities appear to arise partly from certain constraints of perception and cognition (and thus they determine an aspect of the environment within which the “musemes” (musical memes) constituting whale vocalizations and human music is replicated), and partly from the social-emotive-embodied and sexual-selective nature of musemic transmission. The paper argues that Universal-Darwinian forces give rise to uniformities of structure in phenomena we might regard as “music”, irrespective of the animal group — certain primates, cetaceans or birds - within which it occurs. It considers the extent to which whale song might be regarded as creative, by invoking certain criteria used to assess this attribute in human music. On the basis of these various comparisons, the paper concludes by attempting to draw conclusions applicable to those engaged in designing evolutionary music simulation/generation algorithms

Neurophysiological and Behavioral Responses to Music Therapy in Vegetative and Minimally Conscious States

Assessment of awareness for those with disorders of consciousness is a challenging undertaking, due to the complex presentation of the population. Debate surrounds whether behavioral assessments provide greatest accuracy in diagnosis compared to neuro-imaging methods, and despite developments in both, misdiagnosis rates remain high. Music therapy may be effective in the assessment and rehabilitation with this population due to effects of musical stimuli on arousal, attention, and emotion, irrespective of verbal or motor deficits. However, an evidence base is lacking as to which procedures are most effective. To address this, a neurophysiological and behavioral study was undertaken comparing electroencephalogram (EEG), heart rate variability, respiration, and behavioral responses of 20 healthy subjects with 21 individuals in vegetative or minimally conscious states (VS or MCS). Subjects were presented with live preferred music and improvised music entrained to respiration (procedures typically used in music therapy), recordings of disliked music, white noise, and silence. ANOVA tests indicated a range of significant responses (p ? 0.05) across healthy subjects corresponding to arousal and attention in response to preferred music including concurrent increases in respiration rate with globally enhanced EEG power spectra responses (p = 0.05–0.0001) across frequency bandwidths. Whilst physiological responses were heterogeneous across patient cohorts, significant post hoc EEG amplitude increases for stimuli associated with preferred music were found for frontal midline theta in six VS and four MCS subjects, and frontal alpha in three VS and four MCS subjects (p = 0.05–0.0001). Furthermore, behavioral data showed a significantly increased blink rate for preferred music (p = 0.029) within the VS cohort. Two VS cases are presented with concurrent changes (p ? 0.05) across measures indicative of discriminatory responses to both music therapy procedures. A third MCS case study is presented highlighting how more sensitive selective attention may distinguish MCS from VS. The findings suggest that further investigation is warranted to explore the use of music therapy for prognostic indicators, and its potential to support neuroplasticity in rehabilitation programs

The Extended Importance of the Social Creation of Value in Evolutionary Processes

This is a single-authored paper delivered at the biennial European Conference on Artificial Intelligence (ECAI) in Riva del Garda, Italy 28 – 29 August 2006 and published in proceedings. The paper proposed that computational modelling be employed in order to test two processes that might hypothetically distinguish particular dimensions of human creativity. The first process is identified by the researcher as one in which the pursuit of novelty in artistic invention – especially music – tends to words the production of increasingly perceptually complex artefacts. The second process moves from a perspective orientated towards the individual artist and the individual art work’s reception to a more collective one: namely, whether cultural behaviour that tends towards novelty might find itself being reinforced by clustering of similar activities. This latter process would be one that explains why the process of “making special” – that may distinguish art in an anthropological sense – is one that forms particularly strong community bonds. These bonds between novelty seekers – which in the case of the researchers paper can be understood as musicians or artists – may reciprocally reinforce to support yet more novelty seeking. The relation of art and the new is not itself innovative. Boris Groys’ “On The New” provides a scoping of that territory. What is innovative is the proposal to use of computer simulation of individual and collective behaviour as a kind of artificial laboratory to determine the complex tendencies that animate these processes of novelty seeking and, by extension, artistic production. Computationally simulating behaviour that parallels both novelty-seeking as an individual practice (the artist) and the emergence of clusters of novelty seekers (the artistic styles) may, according to the researcher, provide us with new insights the historical evolution of creativity

Creative thinking as orchestrated by semantic processing vs. cognitive control brain networks.

Creativity is primarily investigated within the neuroscientific perspective as a unitary construct. While such an approach is beneficial when trying to infer the general picture regarding creativity and brain function, it is insufficient if the objective is to uncover the information processing brain mechanisms by which creativity occurs. As creative thinking emerges through the dynamic interplay between several cognitive processes, assessing the neural correlates of these operations would enable the development and characterization of an information processing framework from which to better understand this complex ability. This article focuses on two aspects of creative cognition that are central to generating original ideas. "Conceptual expansion" refers to the ability to widen one's conceptual structures to include unusual or novel associations, while "overcoming knowledge constraints" refers to our ability to override the constraining influence imposed by salient or pertinent knowledge when trying to be creative. Neuroimaging and neuropsychological evidence is presented to illustrate how semantic processing and cognitive control networks in the brain differentially modulate these critical facets of creative cognition

Towards pedagogies of creative collaboration: guiding secondary school students' music compositions

The pedagogy of creative collaboration in music classrooms is hardly clear from the literature. There are plenty of strategies for setting up composition activities and some useful models for peer and self-assessment. But what about the nature of the interaction between the teacher and the students, and amongst the students themselves, as the composition is unfolding? How can these interactions facilitate the development of the students’ independent thinking? And what is the influence of the teachers’ background on their approach to facilitating creative collaborations? This chapter explores these matters by first reviewing some literature and then profiling a case study of an English secondary class that has composition as part of the music curriculum. Transcripts of student and teacher observations were studied and then summarised for illustration, in the form of vignettes. In the discussion the music teacher background is considered, charting critical incidents in her education and professional path. The chapter closes with suggestions of building blocks for the design of pedagogies of creative collaboration

Theories of the development of human communication

This article considers evidence for innate motives for sharing rituals and symbols from animal semiotics, developmental neurobiology, physiology of prospective motor control, affective neuroscience and infant communication. Mastery of speech and language depends on polyrhythmic movements in narrative activities of many forms. Infants display intentional activity with feeling and sensitivity for the contingent reactions of other persons. Talk shares many of its generative powers with music and the other ‘imitative arts’. Its special adaptations concern the capacity to produce and learn an endless range of sounds to label discrete learned understandings, topics and projects of intended movement

The Manifestation of Stress and Rumination in Musicians

Here we offer a brief review of research on individual differences that are common to musicians, focusing on our own work on rumination and stress. Rumination and stress have been linked with depression and negative health outcomes. We discuss two of our published studies and two new, unpublished replications that find elevated levels of rumination and stress in musicians. Further, we review literature that finds this combination of rumination and stress might be especially toxic. Even though people frequently use music to help combat stress, musicians may not be taking advantage of their frequent exposure to music, further exacerbating the problem. Interventions aimed at alleviating stress and rumination might prove helpful to musicians