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Creative innovation: possible brain mechanisms.

This article reviews and develops some theories about the neurobiological basis of creative innovation (CI). CI is defined as the ability to understand and express novel orderly relationships. A high level of general intelligence, domain-specific knowledge and special skills are necessary components of creativity. Specialized knowledge is stored in specific portions of the temporal and parietal lobes. Some anatomic studies suggest that talented people might have alterations of specific regions of the posterior neocortical architecture, but further systematic studies are needed. Intelligence, knowledge and special skills, however, are not sufficient for CI. Developing alternative solutions or divergent thinking has been posited to be a critical element of CI, and clinical as well as functional imaging studies suggest that the frontal lobes are important for these activities. The frontal lobes have strong connections with the polymodal and supramodal regions of the temporal and parietal lobes where concepts and knowledge are stored. These connections might selectively inhibit and activate portions of posterior neocortex and thus be important for developing alternative solutions. Although extensive knowledge and divergent thinking together are critical for creativity they alone are insufficient for allowing a person to find the thread that unites. Finding this thread might require the binding of different forms of knowledge, stored in separate cortical modules that have not been previously associated. Thus, CI might require the co-activation and communication between regions of the brain that ordinarily are not strongly connected. The observations that CI often occurs during levels of low arousal and that many people with depression are creative suggests that alterations of neurotransmitters such as norepinephrine might be important in CI. High levels of norepinephrine, produced by high rates of locus coeruleus firing, restrict the breadth of concept representations and increase the signal to noise ratio, but low levels of norepinephrine shift the brain toward intrinsic neuronal activation with an increase in the size of distributed concept representations and co-activation across modular networks. In addition to being important in divergent thinking, the frontal lobes are also the primary cortical region that controls the locus coeruleus-norepinephrine system. Thus creative people may be endowed with brains that are capable of storing extensive specialized knowledge in their temporoparietal cortex, be capable of frontal mediated divergent thinking and have a special ability to modulate the frontal lobe-locus coeruleus (norepinephrine) system, such that during creative innovation cerebral levels of norepinephrine diminish, leading to the discovery of novel orderly relationships.

Animals↗

Creativity enhancement: possibilities for successful aging.

Successful aging is of growing importance in the U.S. Many researchers have explored the phenomenon using various approaches, yet we are still lacking practical guidelines on how to promote successful aging in older adults. The Roy Adaptation Model supports the promotion of adaptation to chronic health problems at a time when one's overall health may be declining and is a useful guide for understanding successful aging. Current literature also suggests that functional performance and creativity are important in order to age successfully. This study examined the relationships between functional performance, creativity, and successful aging within the context of the Roy Adaptation Model. Although creativity was not significantly predictive of successful aging, functional performance was a statistically significant predictor of a successful aging indicator, purpose in life. The study was a pretest-posttest experimental design investigating the effects of a creativity enhancement intervention in older adults. Although the intervention did not appear to increase creativity or successful aging, there were some statistically significant results and valuable findings about the possibilities for creativity enhancement.

Activities of Daily Living↗

Creating connections to life during life-threatening illness: creative activity experienced by elderly people and occupational therapists.

OBJECTIVE: The aim of this study was to discover and characterize components of engagement in creative activity as occupational therapy for elderly people dealing with life-threatening illness, from the perspective of both clients and therapists. Despite a long tradition of use in clinical interventions, key questions remain little addressed concerning how and why people seek these activities and the kinds of benefits that may result. METHOD: Qualitative interviews were conducted with 8 clients and 7 therapists participating in creative workshops using crafts at a nursing home in Sweden. Analysis of the interviews was conducted using a constant comparative method. FINDINGS: Engaging in creative activity served as a medium that enabled creation of connections to wider culture and daily life that counters consequences of terminal illness, such as isolation. Creating connections to life was depicted as the core category, carried out in reference to three subcategories: (1) a generous receptive environment identified as the foundation for engaging in creative activity; (2) unfolding creations-an evolving process; (3) reaching beyond for possible meaning horizons. CONCLUSION: The findings suggest that the domain of creative activity can enable the creation of connections to daily life and enlarge the experience of self as an active person, in the face of uncertain life-threatening illness. Ultimately, the features that participants specify can be used to refine and substantiate the use of creative activities in intervention and general healthcare.

Aged↗

Creativity: the fuel of innovation.

Market-leveled changes occurring in the health care industry require new and creative models of organization, management, and service delivery. One of today's primary management challenges is the development of organizational cultures that value innovation, change, and creativity. The adoption of an ethic of innovativeness allows the organization to stretch the limits of individual and collective knowledge, skill, and ability to meet complex consumer needs. Creativity within organizations is influenced by management practices in conjunction with creativity-relevant work group skills. A common wisdom exists that professional nurses are creative in finding solutions for complex patient care needs. The expansion of this creativity within organizational systems will allow for the evolution of professional nursing practice, improvement in care delivery, and organizational performance.

Creativity↗

Individual differences in emotional creativity: structure and correlates.

The structure and correlates of emotional creativity were explored in a series of six studies, using a specially constructed measure of individual differences--the Emotional Creativity Inventory (ECI). Analyses of the ECI suggest that three facets of emotional creativity can be distinguished empirically as well as theoretically, namely, preparedness (understanding and learning from one's own and others' emotions), novelty (the ability to experience unusual emotions), and effectiveness/authenticity (the skill to express emotions adroitly and honestly). Women score higher than men on emotional preparedness and effectiveness/authenticity, but not on the novelty of their responses. People who score high on the ECI are considered by their peers to be more emotionally creative, presumably on the basis of everyday behavior. Associations between emotional creativity as measured by the ECI and a variety of other personality variables (including the Big Five personality traits, mysticism, self-esteem, authoritarianism, locus of control, alexithymia, and ways of coping) are examined, as is the relation between emotional creativity and prior traumatic experiences.

Adolescent↗

Lateralization of defense mechanisms related to creative functioning.

Eighty-four undergraduate students were randomly divided into left and right visual half-field groups. They were tested in either visual half-field with a percept-genetic test of anxiety and defense mechanisms (the MCT). The subjects also took a test of creative functioning (the CFT) and degree of lateralization in the MCT was related to level of creativity in the CFT. Subjects low in creativity were significantly lateralized on measures typical for the right visual half-field group (isolation and repression) and tended to differ on a left visual half-field measure (regressive strategies). For high creative subjects no differences were found between the visual half-field groups. Also, high creative persons more often responded with non-hemisphere-specific defenses than low creative ones. The results were interpreted as due to differing levels of transmission of information between the two hemispheres of the brain.

Adolescent↗

Creativity.

Creativity has clear benefits for individuals and society as a whole. Not surprisingly, a great deal of research has focused on creativity, especially in the past 20 years. This chapter reviews the creativity research, first looking to the relevant traits, capacities, influences, and products, and then within disciplinary perspectives on creativity (e.g., biological, cognitive, developmental, organizational). Great headway is being made in creativity research, but more dialogue between perspectives is suggested. New and important areas of research are highlighted, and the various costs and benefits of creativity are discussed.

Attention↗

Culture and creativity.

The relationship between cultural and creative expression is complex. Cultural factors clearly have a profound influence on appropriate outlets for creative expression, on the nature of the subject matter and form of expression, on the functions that various forms of expression serve, and on the types of individuals selected for, or engaged in, creative activity. There are many different ways by which societies shape all aspects of creative expression, ranging from the availability of resources to the provision of rewards or punishments. It also becomes apparent that the association of creativity with originality is largely a Western outlook and that artistic achievements in other cultures do not necessarily have this requirement. Despite the powerful impact of culture on the creative expression of individuals, this relationship is often reciprocal. For whatever reasons, there tend to be individuals in all societies who challenge the cultural norm and societal tradition, despite the consequences, and who thereby help to shape the nature and form of art.

Art↗

Self-awareness, self-evaluation, and creativity.

The present research examined when self-evaluation influences creativity. Based on objective self-awareness theory, the authors predicted that feeling able to improve would buffer against the detrimental effects of self-evaluation on creativity. Two experiments manipulated self-evaluation (varying self-awareness, Study 1; providing objective performance standards, Study 2) and perceived ability to improve potential failure on the creativity task. Self-evaluation reduced creativity (generating remote associates, finding unusual uses for a knife) in both experiments, but only when people did not expect to improve. When people felt able to improve, self-evaluation did not affect creativity. Connections between self-motives, creativity, and defensiveness are discussed.

Adult↗

Creativity and mental illness: is there a link?

OBJECTIVE: To critically assess the scientific evidence for associating creativity with mental illness. METHOD: MEDLINE and secondary literature searches identified 29 studies and 34 review articles on creativity and mental illness. All studies were critically evaluated. Reviews were also assessed. RESULTS: Of 29 studies that evaluated possible associations between creativity and mental illness, 15 found no evidence to link creativity and mental illness, 9 found positive evidence, and 5 had unclear findings. Most studies used flawed methodologies with weak (case series or case control) designs. There were no randomized or prospective cohort studies. Adequate criteria for determining causal association were not met. In 34 selective reviews, despite mixed evidence, many authors asserted that creativity and mental illness were positively or causally associated. CONCLUSIONS: There is limited scientific evidence to associate creativity with mental illness. Despite this, many authors promoted a connection. Explanations for this contradiction are explored, and social and research implications are discussed.

Creativity↗

A comparative study of attentional strategies of schizophrenic and highly creative normal subjects.

Frequent references have been made to the similarities between highly creative and psychotic thinking. This study attempts to test the hypothesis that one explanation for such a correspondence lies in the fact that individuals in both these populations habitually employ common attentional strategies which cause them to sample an unusually wide range of available environmental stimuli. A group of highly creative adults and a group of equally intelligent but low creative adults were compared with a group of acute non-paranoid schizophrenic adults on three tests designed to assess attentional and other cognitive styles. The results offer support to the view that both highly creative and schizophrenic individuals habitually sample a wider range of available environmental input than do less creative individuals. In the case of the schizophrenic this involuntary widening of attention tends to have a deleterious effect on performance, while, in contrast, the highly creative individual is more able to successfully process the greater input without this incurring a performance deficit.

Achievement↗

Creativity and body image boundaries.

Descriptions of the creative individual or the individual who can regress in the service of the ego seem to parallel Fisher and Cleveland's (1968) description of the high barrier individual: well-integrated; self-sufficient, but often outgoing and communicative; and able to experience a full range of sensation and emotions without neurotic anxiety. The relationships between Barrier and five measures associated with creativity were investigated, using 100 paid male college student volunteers. The results support the notion that creativity is not a functional unity. Barrier was found to be related to aristic, expressive creativity which seems to be related to interest in human interactions, but unrelated to creativity associated with scientific endeavors and unrelated to creative receptivity (i.e., purest adaptive regression).

Art↗

Psychoanalysis as a creative shaping process.

The author first explains the concepts of creativity, play and aesthetic experience. He then outlines the psychoanalytic process as a creative one that shapes reality. Making a link between psychoanalysis and the humanities, he demonstrates that creative play is a fundamental aspect of the human experience of reality. Aesthetic experiences during the psychoanalytic process are comparable to the play by which children structure their world and artists' activity in following their urge to shape. Furthermore it is shown that creative actualisation testifies to a quasi-biological need for coherence and structure. Through modern hermeneutics, the truth claims of aesthetic shaping can be established in epistemological terms. The basic principles of hermeneutics--historicity, linguisticity and communicative experience--find their psychoanalytic counterparts in memory, representational shaping and transference-countertransference. Psychoanalysis is demonstrated to be simultaneously a science and an art. On the basis of a case history, aesthetic experience is shown to constitute a specific and unique form of access to psychic reality. Aesthetic experience and creativity do not only aid recovery from 'bad psychological states', they are also indispensable for the entire understanding of internal and external reality. It is possible to develop this understanding through a creative psychoanalytic attitude.

Attitude↗

Changes in creativity with age: data, explanations, and further predictions.

Changes in creativity with age, it is argued, seem very probable. A variety of personal qualities usually found in creative people are examined. While conclusive evidence is sometimes lacking, it seems likely that most of these would change with age so as to affect creative productivity, usually adversely. Moreover, many theories of creativity representing a variety of intellectual traditions are discussed, and most of these predict aging decrements of some sort. However, it is also suggested that the creativity decline may vary, being more pronounced a) when the attribute of originality is predominant, b) in the sciences, as opposed to the arts and humanities, c) when certain motives, notably self-expression and sublimation of sexuality, are operative, and d) for male as compared to female creators. Finally, creativity may simply change rather than decline with age, with differing stylistic and thematic concerns gaining priority.

Aging↗

Note on consensual assessment technique in creativity research.

Amabile's Consensual Assessment Technique is commonly used in research on creative products. This study evaluates a modification of that technique which may facilitate research on creative products by calibrating nonexpert judges to expert judges in previous studies. University students (N=200; 59% women, M=22.3 yr. of age, SD=5.5) devised drawings to the Test of Creative Thinking-Drawing Production stimulus. These drawing products were rated by five artist-judges using the CAT and five psychologist-judges who first viewed 16 examples of the range of drawings in a previous study, referred to here as the modified consensual assessment technique. The 20 ratings of product creativity loaded on a single principal component, and the mean ratings correlated .91. Finally, the correlations of these ratings with other measures of creativity were nearly identical. Thus, a slight modification of the technique may be useful in programmatic research when the creativity task is not modified across studies and participants are like the present sample rather than from groups with specialized training or artistic talent.

Adolescent↗

Effect of alcohol on quantity of creative production using the Purdue tests.

An experiment was performed to test whether a moderate dose of alcohol (1 ml of 100% alcohol/kg body weight) facilitates the production of creative solutions as measured with a standard creativity test and whether a creative attitude interacts with alcohol in this respect. The 60 subjects were randomly assigned to either an alcohol, a placebo, or a control group, with 10 women and 10 men in each group. Two different personality tests measuring the creative attitude were administered a priori. Analysis indicated that both the placebo and alcohol groups produced significantly less creative solutions to the ten stimulus pictures. The a priori attitude scores significantly predicted the creativity scores for the placebo and alcohol subjects but not for the control subjects. Results were discussed in terms of disinhibition and cognitive changes under alcohol.

Adult↗

Thinking creatively: from nursing education to practice.

Creative thinking is a critical link in the teaching-learning process, one that enhances problem solving in nursing practice. This article describes a conceptualization of creativity based on focus groups with 12 post-RN students and two nurse educators. Inherent within the major theme, striving for balance, were three subthemes-enhancing self-esteem, working within structure, and making time for reflection (i.e., process). When participants achieved balance, both personally and professionally, they experienced increased creative energy that resulted in creative expression, subsequently displayed in educational endeavors and clinical practice (i.e., product). Strategies for fostering creativity and criteria for evaluating creativity are offered, and implications for nurse educators, managers, and practitioners are examined.

Adult↗

Creativity and the management team.

What is creativity? Is it an untempered gift found only in a few rare individuals? Or, is it a skill that can be developed in the people who make up your management team? As applied to medical group practice, creativity is a process through which the management team can originate ideas for responding to a complicated environment. To be effective, creativity must be fostered in individuals and in the organization. Drawing from lessons of successful corporations, the author examines the management styles which are conducive to creativity and innovation. Strong team management and proper orientation of new staff members are essential in building a foundation for creativity. To assist medical groups, key elements that are fundamental to fostering creativity in the organization are presented.

Creativity↗