CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked (...) to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent. At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group. (shrink)

Recent studies have revealed that the temporal lobe, a cortical region thought to be in charge of episodic and semantic memory, is involved in creative insight. This work examines the contributions of discrete temporal regions to insight. Activity in the medial temporal regions is indicative of novelty recognition and detection, which is necessary for the formation of novel associations and the “Aha!” experience. The fusiform gyrus mainly affects the formation of gestalt-like representation and perspective taking. The anterior and posterior middle (...) temporal gyri are individually associated with extensive semantic processing and inhibiting salient or routine word associations, which are necessary to form non-salient, novel and remote associations. The anterior and posterior superior temporal gyri are individually responsible for integrating/binding and accessing various types of available conceptual representations. Based on the current knowledge, an integrated model of the temporal lobe's role in insight and some future directions are proposed. (shrink)

The essential role of creativity has been highlighted in several human knowledge areas. Regarding the neural underpinnings of creativity, there is evidence about the role of left dorsolateral prefrontal cortex (DLPFC) and left inferior frontal gyrus (IFG) on divergent thinking (DT) and convergent thinking (CT). Transcranial stimulation studies suggest that the left DLPFC is associated with both DT and CT, whereas left IFG is more related to DT. However, none of the previous studies have targeted both hubs simultaneously and compared (...) transcranial direct current stimulation (tDCS) and random noise stimulation (tRNS). Additionally, given the relationship between cognitive flexibility and creativity, we included it in order to check if the improvement in creativity may be mediated by cognitive flexibility. In this double-blind, between-subjects study, 66 healthy participants were randomly assigned to one of three groups (N = 22) that received a transcranial direct current stimulation (tDCS), transcranial random noise stimulation (tRNS), or sham for 20 min. The tDCS group received 1.5 mA with the anode over the left DLPFC and cathode over the left IFG. Locations in tRNS group were the same and they received 1.5 mA of high frequency tRNS (100–500 Hz). Divergent thinking was assessed before (baseline) and during stimulation with unusual uses (UU) and picture completion (PC) subtests from Torrance Creative thinking Test, whereas convergent thinking was evaluated with the remote association test (RAT). Stroop test was included to assess cognitive flexibility. ANCOVA results of performance under stimulation (controlling for baseline performance) showed that there were significant differences in PC (F = 3.35, p = 0.042, np2 = 0.10) but not in UU (F = 0.61, p = 0.546) and RAT (F = 2.65, p = 0.079) scores. Post-hoc analyses showed that tRNS group had significantly higher scores compared to sham (p = 0.004) in PC. More specifically, tRNS showed higher performance in fluency (p = 0.012) and originality (p = 0.021) dimensions of PC compared to sham. Regarding cognitive flexibility, we did not find any significant effect of any of the stimulation groups (F = 0.34, p = 0.711). Therefore, no further mediation analyses were performed. Finally, the group that received tDCS reported more adverse effects than sham group (F = 3.46, p = 0.035). Altogether, these results suggest that tRNS may have some advantages over tDCS in DT. (shrink)

: Creativity, mostly ignored in Western philosophy due to its supposed mysteriousness, has recently become a respected research topic in psychology, neuroscience, and artificial intelligence. We discuss how in science the approach has mainly been to describe creativity as an information-based process, coherently with a computational view of the human mind started with the cognitive revolution. This view has produced progressively convincing models of creativity, up to current artificial neural network systems, vaguely inspired by biological neural processing, but already competing (...) with human creativity in several fields. These successes suggest that creativity might not be an exclusively human function, but actually a way of functioning of any natural or artificial system implementing the creative process. We conclude by acknowledging that the information-based view of creativity has tremendous explanatory and generative power, but we propose a thought experiment to start discussing how it actually leaves out the experiential side of being creative. Keywords: Creative Cognition; Cognitive Neuroscience; Computational Creativity; Generative Algorithms; Cognitive Science La creatività come processo basato sull’informazione Riassunto: La creatività, spesso ignorata dalla filosofia occidentale per la sua presunta oscurità, in tempi recenti è diventata un rispettabile oggetto di ricerca per la psicologia, la neuroscienza e l’intelligenza artificiale. Vogliamo illustrare il modo in cui lo sguardo scientifico sia rivolto prevalentemente a considerare la creatività come processo information-based, coerentemente con la prospettiva computazionale sulla mente umana aperta dalla rivoluzione cognitiva. Questa prospettiva ha prodotto modelli della creatività sempre più convincenti, fino agli attuali sistemi di reti neurali artificiali, vagamente inspirati al processamento biologico neurale, ma già competitivi rispetto alla creatività umana in molti ambiti. Questi successi suggeriscono che la creatività possa non essere una funzione esclusivamente umana ma in effetti un modo di funzionare di un sistema naturale o artificiale capace di implementare il processo creativo. In conclusione, pur riconoscendo come il considerare la creatività come processo information-based possieda grande potere esplicativo e generativo, proporremo un esperimento mentale per aprire una discussione sul come questa prospettiva non copra in effetti il lato esperienziale dell’essere creativo. Parole chiave: Cognizione creativa; Neuroscienza cognitiva; Creatività computazionale; Algoritmi generativi; Scienza cognitiva. (shrink)

The confluence of creativity in music performance finds itself in performance practices and cultural motifs, the communication of the human body along with the instrument it interacts with, and individual performers’ perceptual, motor, and cognitive abilities that contribute to varied musical interpretations of the same piece or melodic line. The musical and artistic execution of a player, as well as the product of this phenomena can become determinant causes in a creative mental state. With advances in neurocognitive measures, the state (...) of one’s artistic intuition and execution has been a growing interest in understanding the creative thought process of human behavior, particularly in improvising artists. This article discusses the implementation on the concurrence of spontaneous (Type-1) and controlled (Type-2) processing modes that may be apparent in the perception of non-improvising artists on how melodic lines are perceived in music performance. Elucidating the cortical-subcortical activity in the dual-process model may extend to non-improvising musicians explored in the paradigm of neural correlates. These interactions may open new possibilities for expanding the repertoire of executive functions, creativity, and the coordinated activity of cortical-subcortical regions that regulate the free flow of artistic ideas and expressive spontaneity in future neuromusical research. (shrink)

Cognitive and neural processes underlying visual creativity have attracted substantial attention. The current research uses a critical time point analysis to examine how spontaneous activity in the primary visual area is related to visual creativity. We acquired the functional magnetic resonance imaging data of 16 participants at the resting state and during performing a visual creative synthesis task. According to the CTPA, we then classified spontaneous activity in the PVA into critical time points, which reflect the most useful and important (...) functional meaning of the entire resting-state condition, and the remaining time points. We constructed functional brain networks based on the brain activity at two different time points and then subsequently based on the brain activity at the task state in a separate manner. We explore the relationship between resting-state and task-fMRI functional brain networks. Our results found that: the pattern of spontaneous activity in the PVA may associate with mental imagery, which plays an important role in visual creativity; in comparison with the RTPs-based brain network, the CTP-network showed an increase in global efficiency and a decrease in local efficiency; the regional integrated properties of the CTP-network could predict the integrated properties of the creative-network while the RTP-network could not. Thus, our findings indicated that spontaneous activity in the PVA at CTPs was associated with a visual creative task-evoked brain response. Our findings may provide an insight into how the visual cortex is related to visual creativity. (shrink)

Over the last two decades, we have begun to gain traction on the neural systems that support creative cognition. Specifically, a converging body of evidence from various domains has demonstrated that creativity arises from the interaction of two large-scale systems in the brain: Whereas the default network (DN) is involved in internally-oriented generation of novel concepts, the executive control network (ECN) exerts top-down control over that generative process to select task-appropriate output. In addition, the salience network (SN) regulates switching between (...) those networks in the course of creative cognition. In contrast, we know much less about the workings of these large-scale systems in support of creativity under extreme conditions, although that is beginning to change. Specifically, there is growing evidence from systems neuroscience to demonstrate that the functioning and connectivity of DN, ECN and SN are influenced by stress—findings that can be used to improve our understanding of the behavioural effects of stress on creativity. Toward that end, we review findings from the neuroscience of creativity, behavioural research on the impact of stress on creativity, and the systems-level view of the brain under stress to suggest ways in which creativity might be affected under extreme conditions. Although our focus is largely on acute stress, we also touch on the possible impact of chronic stress on creative cognition. (shrink)

Real world problem-solving (RWPS) is what we do every day. It requires flexibility, resilience, resourcefulness, and a certain degree of creativity. A crucial feature of RWPS is that it involves continuous interaction with the environment during the problem-solving process. In this process, the environment can be seen as not only a source of inspiration for new ideas but also as a tool to facilitate creative thinking. The cognitive neuroscience literature in creativity and problem-solving is extensive, but it has largely focused (...) on neural networks that are active when subjects are not focused on the outside world, i.e., not using their environment. In this paper, I attempt to combine the relevant literature on creativity and problem-solving with the scattered and nascent work in perceptually-driven learning from the environment. I present my synthesis as a potential new theory for real world problem-solving and map out its hypothesized neural basis. I outline some testable predictions made by the model and provide some considerations and ideas for experimental paradigms that could be used to evaluate the model more thoroughly. (shrink)

Evidence suggests divergent thinking is the cognitive basis of creative thoughts. Neuroimaging literature using resting-state functional connectivity has revealed network reorganizations during divergent thinking. Recent studies have revealed the changes of network organizations when performing creativity tasks, but such brain reconfigurations may be prolonged after task and be modulated by the trait of creativity. To investigate the dynamic reconfiguration, 40 young participants were recruited to perform consecutive Alternative Uses Tasks for divergent thinking and two resting-state scans were used for mapping (...) the brain reorganizations after AUT. We split participants into high- and low-creative groups based on creative achievement questionnaire and targeted on reconfigurations of the two brain networks: default-mode network and the network seeded at the left inferior frontal gyrus because the between-group difference of AUT-induced brain activation located at the left IFG. The changes of post-AUT RSFCs indicated the prolonged effect of divergent thinking. More specifically, the alterations of RSFCIFG−AG and RSFCIFG−IPL in the high-creative group had positive relationship with their AUT performances, but not found in the low-creative group. Furthermore, the RSFC changes of DMN did not present significant relationships with AUT performances. The findings not only confirmed the possibility of brain dynamic reconfiguration following divergent thinking, but also suggested the distinct IFGN reconfiguration between individuals with different creativity levels. (shrink)

A large number of studies, including single case and case series studies, have shown that patients with different types of frontotemporal dementia are characterized by the emergence of artistic abilities. This led to the hypothesis of enhanced creative thinking skills as a function of these pathological conditions. However, in the last years, it has been argued that these brain pathologies lead only to an augmented “drive to produce” rather than to the emergence of creativity. Moreover, only a few studies analyzed (...) specific creative skills, such as divergent thinking, by standardized tests. This Mini-Review aimed to examine the extent to which DT abilities are preserved in patients affected by FTD. Results showed that DT abilities are altered in different ways according to the specific anatomical and functional changes associated with the diverse forms of FTD. On the one hand, patients affected by the behavioral form of FTD can produce many ideas because of unimpaired access to memory stores, but are not able to recombine flexibly the information to produce original ideas because of damages in the pre-frontal cortex. On the other hand, patients affected by the semantic variant are impaired also in terms of fluency because of the degradation of their semantic memory store. Potential implications, limitations, and future research directions are discussed. (shrink)