Applying the neuroscience of creativity to creativity training

This article investigates how neuroscience in general, and neuroscience of creativity in particular, can be used in teaching "applied creativity" and the usefulness of this approach to creativity training. The article is based on empirical data and our experiences from the Applied NeuroCreativity (ANC) program, taught at business schools in Denmark and Canada. In line with previous studies of successful creativity training programs the ANC participants are first introduced to cognitive concepts of creativity, before applying these concepts to a relevant real world creative problem. The novelty in the ANC program is that the conceptualization of creativity is built on neuroscience, and a crucial aspect of the course is giving the students a thorough understanding of the neuroscience of creativity. Previous studies have reported that the conceptualization of creativity used in such training is of major importance for the success of the training, and we believe that the neuroscience of creativity offers a novel conceptualization for creativity training. Here we present pre/post-training tests showing that ANC students gained more fluency in divergent thinking (a traditional measure of trait creativity) than those in highly similar courses without the neuroscience component, suggesting that principles from neuroscience can contribute effectively to creativity training and produce measurable results on creativity tests. The evidence presented indicates that the inclusion of neuroscience principles in a creativity course can in 8 weeks increase divergent thinking skills with an individual relative average of 28.5%

Differentiation of Palaeogene sand by glauconitic and geochemical fingerprinting, Siri Canyon, Danish North Sea

The submarine Siri Canyon is NE–SW-oriented and located in the Danish North Sea (Fig. 1). It contains a number of oil reservoirs with glauconite-rich sand. The reservoirs of interest in the Nini oil field are the Late Paleocene Tyr Member of the Lista Formation and the Kolga Member of the Sele Formation (Schiøler et al. 2007), presumably of Early Eocene age. These members have previously been known as the Ty and Hermod members (Hamberg et al. 2005; Poulsen et al. 2007). The sand shows signs of injection, both in cores and in seismic data. The aim of this work is to chemically characterise and fingerprint the sand in order to reveal the origin of the sand found in three horizontal wells, which could have been injected from one or both of the Tyr and Kolga members. Core samples were collected from two vertical wells of known stratigraphy to make a basis of comparison, whereas samples of the cuttings were collected from the three horizontal wells with ages primarily corresponding to the Kolga Member. The purpose was moreover to evaluate whether cuttings samples can be used for fingerprinting as an alternative to core samples

Not Quite Equal Odds: Openness to Experience Moderates the Relation Between Quantity and Quality of Ideas in Divergent Production

Since brainstorming was introduced as a technique in 1953 it has been assumed that the best way to produce good ideas is through the production of many ideas, which has later been named the equal-odds rule. However, this finding that productivity often leads to creative quality has rarely been examined in psychometric studies of creative cognition. To close this knowledge gap, we examined the relationship between individual differences in creative personality, as assessed by the personality trait openness to experience, and both the quantity and quality of ideas produced in a divergent thinking task. Across 154 graduate students we found a positive and significant relationship between creative personality and the number of ideas produced, as well as their creative value. The present results indicate that while quantity does breed quality in creative production, the effect is moderated by individual differences, specifically the personality trait Openness to Experience. As the level of Openness to Experience increases, the relation of quantity of ideas to average Creative value gradually becomes positive and significant. We discuss the possible reasons for and implications of our findings

Overcoming design fixation through education and creativity methods

This paper reports an experiment on the topic design fixation using 12 teams of masters students working on three design problems from (Jansson and Smith 1991). The objective of the experiment is to determine the effectiveness of two interventions to help overcome fixation on example solutions. The first intervention consisted of educating each team on the phenomena and effects of design fixation. The results showed that this intervention reduced the number of fixation elements in comparison to the control group (p=0.025). The second intervention involved using Dix et al (2006) 'Bad Ideas' method during a final design task. The results showed that the method did not help the teams as it caused the fixation ratio to increase and the number of ideas per team to decrease. In addition to the above mentioned interventions, the experiment also revealed a negative correlation between the number of ideas produced per group and the groups' fixation ratios, adding to the quantity breads novelty debate. Finally, the study also provided further evidence of the hypothesis by Agogu et al (2011) that example solutions constructed from restrictive partitions have a greater fixation affect

Imaging the Creative Unconscious:Reflexive Neural Responses to Objects in the Visual and Parahippocampal Region Predicts State and Trait Creativity

Abstract What does it take to have a creative mind? Theories of creative cognition assert that the quantity of automatic associations places fundamental constraints on the probability of reaching creative solutions. Due to the difficulties inherent in isolating automated associative responses from cognitive control, the neural basis underlying this faculty remains unknown. Here we acquired fMRI data in an incidental-viewing paradigm in which subjects performed an attention-demanding task whilst viewing task-irrelevant objects. By assigning a standard creativity task on the same objects out of the scanner, as well as a battery of psychometric creativity tests, we could assess whether stimulus-bound neural activity was predictive of state or trait variability in creativity. We found that stimulus-bound responses in superior occipital regions were linearly predictive of trial-by-trial variability in creative performance (state-creativity), and that in more creative individuals (trait-creativity) this response was more strongly expressed in entorhinal cortex. Additionally, the mean response to the onset of objects in parahippocampal gyrus was predictive of trait differences in creativity. This work suggests that, creative individuals are endowed with occipital and medial temporal reflexes that generate a greater fluency in associative representations, making them more accessible for ideation even when no ideation is explicitly called for