Massimiliano Palmiero

Where do bright ideas occur in our brain? Meta-analytic evidence from neuroimaging studies of domain-specific creativity

Many studies have assessed the neural underpinnings of creativity, failing to find a clear anatomical localization. We aimed to provide evidence for a multi-componential neural system for creativity. We applied a general activation likelihood estimation (ALE) meta-analysis to 45 fMRI studies. Three individual ALE analyses were performed to assess creativity in different cognitive domains (Musical, Verbal, and Visuo-spatial). The general ALE revealed that creativity relies on clusters of activations in the bilateral occipital, parietal, frontal, and temporal lobes. The individual ALE revealed different maximal activation in different domains. Musical creativity yields activations in the bilateral medial frontal gyrus, in the left cingulate gyrus, middle frontal gyrus, and inferior parietal lobule and in the right postcentral and fusiform gyri. Verbal creativity yields activations mainly located in the left hemisphere, in the prefrontal cortex, middle and superior temporal gyri, inferior parietal lobule, postcentral and supramarginal gyri, middle occipital gyrus, and insula. The right inferior frontal gyrus and the lingual gyrus were also activated. Visuo-spatial creativity activates the right middle and inferior frontal gyri, the bilateral thalamus and the left precentral gyrus. This evidence suggests that creativity relies on multi-componential neural networks and that different creativity domains depend on different brain regions.

Creativity and dementia: a review

In these last years, creativity was found to play an important role for dementia patients in terms of diagnosis and rehabilitation strategies. This led us to explore the relationships between dementia and creativity. At the aim, artistic creativity and divergent thinking are considered both in non-artists and artists affected by different types of dementia. In general, artistic creativity can be expressed in exceptional cases both in Alzheimer’s disease and Frontotemporal dementia, whereas divergent thinking decreases in dementia. The creation of paintings or music is anyway important for expressing emotions and well-being. Yet, creativity seems to emerge when the right prefrontal cortex, posterior temporal, and parietal areas are relatively intact, whereas it declines when these areas are damaged. However, enhanced creativity in dementia is not confirmed by controlled studies conducted in non-artists, and whether artists with dementia can show creativity has to be fully addressed. Future research directions are suggested.

The Role of Vividness of Visual Mental Imagery on Different Dimensions of Creativity

Although research demonstrated that people can mentally manipulate and synthesize visual elements into a creative object, the role that vividness of visual imagery plays on creative imagery is still unclear. This study explored the relationships between vividness of visual imagery and 3 dimensions of creative imagery: originality, practicality, and mental spatial transformations of visual elements. Fifty-three participants performed the creative mental synthesis task and completed the Vividness of Visual Imagery Questionnaire (VVIQ). Results revealed a positive relationship between vividness and the practicality dimension of objects. No relationship was found either between vividness and originality or between vividness and transformational complexity. The association vividness–practicality seems to reflect the ability to use pictorial information of imagery when people generate functional objects that belong to specific categories. Future research directions are discussed.

Domain-Specificity of Creativity: A Study on the Relationship Between Visual Creativity and Visual Mental Imagery.

Creativity refers to the capability to catch original and valuable ideas and solutions. It involves different processes. In this study the extent to which visual creativity is related to cognitive processes underlying visual mental imagery was investigated. Fifty college students (25 women) carried out: the Creative Synthesis Task, which measures the ability to produce creative objects belonging to a given category (originality, synthesis and transformation scores of pre-inventive forms, and originality and practicality scores of inventions were computed); an adaptation of Clark’s Drawing Ability Test, which measures the ability to produce actual creative artworks (graphic ability, esthetic, and creativity scores of drawings were assessed) and three mental imagery tasks that investigate the three main cognitive processes involved in visual mental imagery: generation, inspection and transformation. Vividness of imagery and verbalizer–visualizer cognitive style were also measured using questionnaires. Correlation analysis revealed that all measures of the creativity tasks positively correlated with the image transformation imagery ability; practicality of inventions negatively correlated with vividness of imagery; originality of inventions positively correlated with the visualization cognitive style. However, regression analysis confirmed the predictive role of the transformation imagery ability only for the originality score of inventions and for the graphic ability and esthetic scores of artistic drawings; on the other hand, the visualization cognitive style predicted the originality of inventions, whereas the vividness of imagery predicted practicality of inventions. These results are consistent with the notion that visual creativity is domain- and task-specific.

Divergent Thinking and Age-Related Changes

Aging can affect cognition in different ways. The extent to which aging affects divergent thinking is unclear. In this study, younger and older adults were compared at the performance on the Torrance Test of Creative Thinking in visual and verbal form. Results showed that older adults can think divergently as younger participants, although they produce fewer visual ideas. This finding involves implications for active aging, given that also older adults can be still capable to produce original ideas and improve living conditions surrounding them.

Sex differences in visuospatial and navigational working memory: the role of mood induced by background music

Sex differences in visuospatial abilities are long debated. Men generally outperform women, especially in wayfinding or learning a route or a sequence of places. These differences might depend on women’s disadvantage in underlying spatial competences, such as mental rotation, and on the strategies used, as well as on emotions and on self-belief about navigational skills, not related to actual skill-levels. In the present study, sex differences in visuospatial and navigational working memory in emotional contexts were investigated. Participants’ mood was manipulated by background music (positive, negative or neutral) while performing on the Corsi Block-tapping Task (CBT) and Walking Corsi (WalCT) test. In order to assess the effectiveness of mood manipulation, participants filled in the Positive and Negative Affect Schedule before and after carrying out the visuospatial tasks. Firstly, results showed that after mood induction, only the positive affect changed, whereas the negative affect remained unconfounded by mood and by sex. This finding is in line with the main effect of ‘group’ on all tests used: the positive music group scored significantly higher than other groups. Secondly, although men outperformed women in the CBT forward condition and in the WalCT forward and backward conditions, they scored higher than women only in the WalCT with the negative background music. This means that mood cannot fully explain sex differences in visuospatial and navigational working memory. Our results suggest that sex differences in the CBT and WalCT can be better explained by differences in spatial competences rather than by emotional contexts.

The Role of Emotional Landmarks on Topographical Memory

The investigation of the role of emotional landmarks on human navigation has been almost totally neglected in psychological research. Therefore, the extent to which positive and negative emotional landmarks affect topographical memory as compared to neutral emotional landmark was explored. Positive, negative and neutral affect-laden images were selected as landmarks from the International Affective Picture System (IAPS) Inventory. The Walking Corsi test (WalCT) was used in order to test the landmark-based topographical memory. Participants were instructed to learn and retain an eight-square path encompassing positive, negative or neutral emotional landmarks. Both egocentric and allocentric frames of references were considered. Egocentric representation encompasses the object’s relation to the self and it is generated from sensory data. Allocentric representation expresses a location with respect to an external frame regardless of the self and it is the basis for long-term storage of complex layouts. In particular, three measures of egocentric and allocentric topographical memory were taken into account: (1) the ability to learn the path; (2) the ability to recall by walking the path five minutes later; (3) the ability to reproduce the path on the outline of the WalCT. Results showed that both positive and negative emotional landmarks equally enhanced the learning of the path as compared to neutral emotional landmarks. In addition, positive emotional landmarks improved the reproduction of the path on the map as compared to negative and neutral emotional landmarks. These results generally show that emotional landmarks enhance egocentric-based topographical memory, whereas positive emotional landmarks seem to be more effective for allocentric-based topographical memory.

Situated navigational working memory: the role of positive mood

The perspective of situated cognition assumes that cognition is not separated from the context. In the present study, the issue if visuospatial memory and navigational working memory are situated was explored by manipulating participants’ mood (positive, negative and neutral) while performing two different tasks. College students were randomly assigned to the group of positive, negative or neutral music. Participants filled out the positive and negative affect schedule (PANAS) before and after carrying out the Corsi Test and the Walking Corsi Test. Both tasks were performed forward and backward. Music was played throughout the memory tasks. Firstly, comparing pre-mood induction PANAS scores to post-mood induction PANAS scores, results showed that only positive affects were manipulated: After mood induction, the Positive Music Group produced higher scores, whereas the Negative Music Group produced lower scores than before mood induction; the Neutral Music Group produced no effect. Secondly, the Positive Music Group produced higher scores than Negative and Neutral Music Groups both at the Corsi Test and at the Walking Corsi Test. These results show that situational contexts that induce a specific mood can affect visuospatial memory and navigational working memory, and open to the idea that positive emotions may play a crucial role in enhancing navigational strategies.

Visualizer cognitive style enhances visual creativity.

In the last two decades, interest towards creativity has increased significantly since it was recognized as a skill and as a cognitive reserve and is now always more frequently used in ageing training. Here, the relationships between visual creativity and Visualization-Verbalization cognitive style were investigated. Fifty college students were administered the Creative Synthesis Task aimed at measuring the ability to construct creative objects and the Visualization-Verbalization Questionnaire (VVQ) aimed at measuring the attitude to preferentially use either imagery or verbal strategy while processing information. Analyses showed that only the originality score of inventions was positively predicted by the VVQ score: higher VVQ score (indicating the preference to use imagery) predicted originality of inventions. These results showed that the visualization strategy is involved especially in the originality dimension of creative objects production. In light of neuroimaging results, the possibility that different strategies, such those that involve motor processes, affect visual creativity is also discussed.

Mental imagery skills predict the ability in performing environmental directional judgements

Mental imagery plays a crucial role in several cognitive processes, including human navigation. According to the Kosslyn’s Model, mental imagery is subserved by three components: generation, inspection and transformation. The role of transformation, where by individuals recognise, from a different perspective, a place they have already visited, is no longer a matter of debate. However, the role of the other two components when recalling a map from different perspectives, has never been fully investigated. In the present study, we enrolled forty-nine college students and asked them to learn a schematic map and to provide directional judgements aligned or counter-aligned compared to the learnt map orientation. Their mental imagery generation, inspection and transformation skills were also investigated. Results demonstrated that all three visual mental imagery components negatively correlate with errors in providing directional judgements. Specifically, generation assumes a role in aligned directional judgements, while inspection and transformation predict the capability to provide counter-aligned directional judgements. Although all mental imagery components play a role in mentally recalling a map, only the proficiency in inspection and mental rotation can predict the accuracy in changing perspective.