The Experts below are selected from a list of 22926 Experts worldwide ranked by ideXlab platform
Julian West - One of the best experts on this subject based on the ideXlab platform.
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conceptualising and understanding Artistic Creativity in the dementias interdisciplinary approaches to research and practise
Frontiers in Psychology, 2018Co-Authors: Paul M Camic, Sebastian J Crutch, Charlie Murphy, Nicholas C Firth, Emma Harding, Charles R Harrison, Susannah Howard, Sarah Strohmaier, Janneke Van Leewen, Julian WestAbstract:Creativity research has a substantial history in psychology and related disciplines; one component of this research tradition has specifically examined Artistic Creativity. Creativity theories have tended to concentrate, however, on Creativity as an individual phenomenon that results in a novel production, and on cognitive aspects of Creativity, often limiting its applicability to people with cognitive impairments, including those with a dementia. Despite growing indications that Creativity is important for the wellbeing of people living with dementias, it is less well understood how Creativity might be conceptualised, measured and recognised in this population, and how this understanding could influence research and practice. This paper begins by exploring prevailing definitions of Creativity and co-Creativity and assesses their relevance to dementia, followed by a critique of Creativity and dementia research related to the arts. Perspectives from researchers, artists and those with a dementia are addressed. We then introduce several novel psychological and physiological approaches to better understand Artistic-related Creativity in this population and conclude with a conceptualisation of Artistic Creativity in the dementias to help guide future research and practice.
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conceptualising and understanding Artistic Creativity in the dementias interdisciplinary approaches to research and practise
Frontiers in Psychology, 2018Co-Authors: Paul M Camic, Sebastian J Crutch, Charlie Murphy, Nicholas C Firth, Emma Harding, Charles R Harrison, Susannah Howard, Sarah Strohmaier, Janneke Van Leewen, Julian WestAbstract:Creativity research has a substantial history in psychology and related disciplines; one component of this research tradition has specifically examined Artistic Creativity. Creativity theories have tended to concentrate, however, on Creativity as an individual phenomenon that results in a novel production, and on cognitive aspects of Creativity, often limiting its applicability to people with cognitive impairments, including those with a dementia. Despite growing indications that Creativity is important for the wellbeing of people living with dementias, it is less well understood how Creativity might be conceptualised, measured and recognised in this population, and how this understanding could influence research and practise. This paper begins by exploring prevailing concepts of Creativity and assesses their relevance to dementia, followed by a critique of Creativity and dementia research related to the arts. Perspectives from researchers, artists, formal and informal caregivers and those with a dementia are addressed. We then introduce several novel psychological and physiological approaches to better understand Artistic-related Creativity in this population and conclude with a conceptualisation of Artistic Creativity in the dementias to help guide future research and practise.
Miyuki Yamamoto - One of the best experts on this subject based on the ideXlab platform.
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neural networks involved in Artistic Creativity
Human Brain Mapping, 2009Co-Authors: Yasuyuki Kowatari, Seunghee Lee, Hiromi Yamamura, Yusuke Nagamori, P Pierre D Levy, Shigeru Yamane, Miyuki YamamotoAbstract:Creativity has been proposed to be either the result of solely right hemisphere processes or of interhemispheric interactions. Little information is available, however, concerning the neuronal foundations of Creativity. In this study, we introduced a new Artistic task, designing a new tool (a pen), which let us quantitatively evaluate Creativity by three indices of originality. These scores were analyzed in combination with brain activities measured by functional magnetic resonance imaging (fMRI). The results were compared between subjects who had been formally trained in design (experts) and novice subjects. In the experts, Creativity was quantitatively correlated with the degree of dominance of the right prefrontal cortex over that of the left, but not with that of the right or left prefrontal cortex alone. In contrast, in novice subjects, only a negative correlation with Creativity was observed in the bilateral inferior parietal cortex. We introduced structure equation modeling to analyze the interactions among these four brain areas and originality indices. The results predicted that training exerts a direct effect on the left parietal cortex. Additionally, as a result of the indirect effects, the activity of the right prefrontal cortex was facilitated, and the left prefrontal and right parietal cortices were suppressed. Our results supported the hypothesis that training increases Creativity via reorganized intercortical interactions.
Paul M Camic - One of the best experts on this subject based on the ideXlab platform.
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conceptualising and understanding Artistic Creativity in the dementias interdisciplinary approaches to research and practise
Frontiers in Psychology, 2018Co-Authors: Paul M Camic, Sebastian J Crutch, Charlie Murphy, Nicholas C Firth, Emma Harding, Charles R Harrison, Susannah Howard, Sarah Strohmaier, Janneke Van Leewen, Julian WestAbstract:Creativity research has a substantial history in psychology and related disciplines; one component of this research tradition has specifically examined Artistic Creativity. Creativity theories have tended to concentrate, however, on Creativity as an individual phenomenon that results in a novel production, and on cognitive aspects of Creativity, often limiting its applicability to people with cognitive impairments, including those with a dementia. Despite growing indications that Creativity is important for the wellbeing of people living with dementias, it is less well understood how Creativity might be conceptualised, measured and recognised in this population, and how this understanding could influence research and practice. This paper begins by exploring prevailing definitions of Creativity and co-Creativity and assesses their relevance to dementia, followed by a critique of Creativity and dementia research related to the arts. Perspectives from researchers, artists and those with a dementia are addressed. We then introduce several novel psychological and physiological approaches to better understand Artistic-related Creativity in this population and conclude with a conceptualisation of Artistic Creativity in the dementias to help guide future research and practice.
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conceptualising and understanding Artistic Creativity in the dementias interdisciplinary approaches to research and practise
Frontiers in Psychology, 2018Co-Authors: Paul M Camic, Sebastian J Crutch, Charlie Murphy, Nicholas C Firth, Emma Harding, Charles R Harrison, Susannah Howard, Sarah Strohmaier, Janneke Van Leewen, Julian WestAbstract:Creativity research has a substantial history in psychology and related disciplines; one component of this research tradition has specifically examined Artistic Creativity. Creativity theories have tended to concentrate, however, on Creativity as an individual phenomenon that results in a novel production, and on cognitive aspects of Creativity, often limiting its applicability to people with cognitive impairments, including those with a dementia. Despite growing indications that Creativity is important for the wellbeing of people living with dementias, it is less well understood how Creativity might be conceptualised, measured and recognised in this population, and how this understanding could influence research and practise. This paper begins by exploring prevailing concepts of Creativity and assesses their relevance to dementia, followed by a critique of Creativity and dementia research related to the arts. Perspectives from researchers, artists, formal and informal caregivers and those with a dementia are addressed. We then introduce several novel psychological and physiological approaches to better understand Artistic-related Creativity in this population and conclude with a conceptualisation of Artistic Creativity in the dementias to help guide future research and practise.
Gillian M Morrisskay - One of the best experts on this subject based on the ideXlab platform.
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the evolution of human Artistic Creativity
Journal of Anatomy, 2010Co-Authors: Gillian M MorrisskayAbstract:Creating visual art is one of the defining characteristics of the human species, but the paucity of archaeological evidence means that we have limited information on the origin and evolution of this aspect of human culture. The components of art include colour, pattern and the reproduction of visual likeness. The 2D and 3D art forms that were created by Upper Palaeolithic Europeans at least 30 000 years ago are conceptually equivalent to those created in recent centuries, indicating that human cognition and symbolling activity, as well as anatomy, were fully modern by that time. The origins of art are therefore much more ancient and lie within Africa, before worldwide human dispersal. The earliest known evidence of ‘Artistic behaviour’ is of human body decoration, including skin colouring with ochre and the use of beads, although both may have had functional origins. Zig-zag and criss-cross patterns, nested curves and parallel lines are the earliest known patterns to have been created separately from the body; their similarity to entopic phenomena (involuntary products of the visual system) suggests a physiological origin. 3D art may have begun with human likeness recognition in natural objects, which were modified to enhance that likeness; some 2D art has also clearly been influenced by suggestive features of an uneven surface. The creation of images from the imagination, or ‘the mind’s eye’, required a seminal evolutionary change in the neural structures underpinning perception; this change would have had a survival advantage in both tool-making and hunting. Analysis of early tool-making techniques suggests that creating 3D objects (sculptures and reliefs) involves their cognitive deconstruction into a series of surfaces, a principle that could have been applied to early sculpture. The cognitive ability to create art separate from the body must have originated in Africa but the practice may have begun at different times in genetically and culturally distinct groups both within Africa and during global dispersal, leading to the regional variety seen in both ancient and recent art. At all stages in the evolution of Artistic Creativity, stylistic change must have been due to rare, highly gifted individuals.
Jiang Qiu - One of the best experts on this subject based on the ideXlab platform.
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mapping the Artistic brain common and distinct neural activations associated with musical drawing and literary Creativity
Human Brain Mapping, 2020Co-Authors: Qunlin Chen, Roger E Beaty, Jiang QiuAbstract:Whether Creativity is a domain-general or domain-specific ability has been a topic of intense speculation. Although previous studies have examined domain-specific mechanisms of creative performance, little is known about commonalities and distinctions in neural correlates across different domains. We applied activation likelihood estimation (ALE) meta-analysis to identify the brain activation of domain-mechanisms by synthesizing functional neuroimaging studies across three forms of Artistic Creativity: music improvisation, drawing, and literary Creativity. ALE meta-analysis yielded a domain-general pattern across three Artistic forms, with overlapping clusters in the presupplementary motor area (pre-SMA), left dorsolateral prefrontal cortex, and right inferior frontal gyrus (IFG). Regarding domain-specificity, musical Creativity was associated with recruitment of the SMA-proper, bilateral IFG, left precentral gyrus, and left middle frontal gyrus (MFG) compared to the other two Artistic forms; drawing Creativity recruited the left fusiform gyrus, left precuneus, right parahippocampal gyrus, and right MFG compared to musical Creativity; and literary Creativity recruited the left angular gyrus and right lingual gyrus compared to musical Creativity. Contrasting drawing and literary Creativity revealed no significant differences in neural activation, suggesting that these domains may rely on a common neurocognitive system. Overall, these findings reveal a central, domain-general system for Artistic Creativity, but with each domain relying to some degree on domain-specific neural circuits.
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different brain structures associated with Artistic and scientific Creativity a voxel based morphometry study
Scientific Reports, 2017Co-Authors: Baoguo Shi, Xiaoqing Cao, Qunlin Chen, Kaixiang Zhuang, Jiang QiuAbstract:Creativity is the ability to produce original and valuable ideas or behaviors. In real life, Artistic and scientific Creativity promoted the development of human civilization; however, to date, no studies have systematically investigated differences in the brain structures responsible for Artistic and scientific Creativity in a large sample. Using voxel-based morphometry (VBM), this study identified differences in regional gray matter volume (GMV) across the brain between Artistic and scientific Creativity (assessed by the Creative Achievement Questionnaire) in 356 young, healthy subjects. The results showed that Artistic Creativity was significantly negatively associated with the regional GMV of the supplementary motor area (SMA) and anterior cingulate cortex (ACC). In contrast, scientific Creativity was significantly positively correlated with the regional GMV of the left middle frontal gyrus (MFG) and left inferior occipital gyrus (IOG). Overall, Artistic Creativity was associated with the salience network (SN), whereas scientific Creativity was associated with the executive attention network and semantic processing. These results may provide an effective marker that can be used to predict and evaluate individuals' creative performance in the fields of science and art.
