Creativity From Constraint Exploration and Exploitation

Using the frameworks of creativity as problem solving and Integrated Constraints in Creativity (IConIC), this article develops the proposal that creativity is best understood in terms of a cycle of constraint exploration and exploitation. This general thesis, which applies to varied domains and levels of creativity, is supported by three specific proposals about the role of constraints in creativity, each of which is developed and illustrated with examples. First, constraints provide the criteria for the evaluation of creative outcomes, which can vary as a function of the emphasis on novel usefulness or useful novelty. Second, constraints are critical in each step of the creative process: problem finding, problem construction, and problem solving. Third, constraints play a key role in both open-ended and closed-ended creative problems. These arguments are supported by specific predictions, concerning: (a) task differences in whether novelty or usefulness are emphasized more; (b) individual differences in the processing of constraints (some may favor flexible constraint exploration, while others may favor persistent constraint exploitation), which I hypothesize also correlate with (c) engagement in different types of creative problem-solving (more open-ended, of the sort encountered in art, vs. more closed-ended, of the sort encountered in science, business, and engineering).

Memory and creativity: A meta-analytic examination of the relationship between memory systems and creative cognition

Increasing evidence suggests that specific memory systems (e.g., semantic vs. episodic) may support specific creative thought processes. However, there are a number of inconsistencies in the literature regarding the strength, direction, and influence of different memory (semantic, episodic, working, and short-term) and creativity (divergent and convergent thinking) types, as well as the influence of external factors (age, stimuli modality) on this purported relationship. In this meta-analysis, we examined 525 correlations from 79 published studies and unpublished datasets, representing data from 12,846 individual participants. We found a small but significant (r = .19) correlation between memory and creative cognition. Among semantic, episodic, working, and short-term memory, all correlations were significant, but semantic memory - particularly verbal fluency, the ability to strategically retrieve information from long-term memory - was found to drive this relationship. Further, working memory capacity was found to be more strongly related to convergent than divergent creative thinking. We also found that within visual creativity, the relationship with visual memory was greater than that of verbal memory, but within verbal creativity, the relationship with verbal memory was greater than that of visual memory. Finally, the memory-creativity correlation was larger for children compared to young adults despite no impact of age on the overall effect size. These results yield three key conclusions: (1) semantic memory supports both verbal and nonverbal creative thinking, (2) working memory supports convergent creative thinking, and (3) the cognitive control of memory is central to performance on creative thinking tasks.

A systematic framework of creative metacognition

Creative cognition does not just involve cognitive processes in direct service of the main task objective (e.g., idea generation), but also metacognitive processes that monitor and regulate cognition adaptively (e.g., evaluation of ideas and task performance, or development and selection of task strategies). Although metacognition is vital for creative performance, relevant work is sparse, which may be partly due to persistent ambiguities in the theoretical conceptualization of creative metacognition. Therefore, this article proposes a systematic framework of creative metacognition (CMC), which builds on recent advancements in metacognition theory and extends them to meet the specifics of creative cognition. The CMC framework consists of two dynamic components-monitoring and control-and a more static component of metacognitive knowledge, each subsuming metacognitive processes applying to the level of task, performance, and responses. We describe the presumed function of these metacognitive components in the creative process, present evidence in support of each, and discuss their association with related constructs, such as creative self-beliefs. We further highlight the dynamic interplay of metacognitive processes across task performance and identify promising avenues for future research.

Representing creative thought: A representational similarity analysis of creative idea generation and evaluation

Dual process theories of creativity suggest that creative thought is supported by both a generation phase, where unconstrained ideas are generated and combined in novel ways, and an evaluation phase, where those ideas are filtered for usefulness in context. Neurocognitively, both the default mode network (DMN) and the executive control network (ECN) have been implicated in generation and evaluation, respectively. Importantly, generating and evaluating ideas implies that the same information, reflected in patterns of neural activity, must be present in both phases, suggesting that information should be 'reinstated' (i.e. multidimensional patterns must reappear) within and/or between network nodes. In the present study, we used representational similarity analysis (RSA) to investigate the extent to which nodes of the DMN and ECN reinstate information between a generation phase, in which participants generated novel or appropriate word associations to single nouns, and an evaluation phase, where we presented the associations back to participants to evaluate them. We showed strong evidence for reinstatement within the ECN dorsal lateral prefrontal cortex during the novel association task, and within the DMN medial prefrontal cortex during the appropriate association task. We additionally showed between network reinstatement between the ECN dorsal lateral prefrontal cortex and the DMN posterior parietal cortex during the novelty task. These results demonstrate the importance of both within- and between-informational reinstatement for generating and evaluating ideas, and implicate both the DMN and ECN in dual process models of creativity.

Search and insight processes in card sorting games

Insight problems are particularly interesting, because problems which require restructuring allow researchers to investigate the underpinnings of the Aha-experience, creativity and out of the box thinking. There is a need for new insight tasks to probe and extend the limits of existing theories and cognitive frameworks. To shed more light on this fascinating issue, we addressed the question: Is it possible to convey a well-known card sorting game into an insight task? We introduced different conditions and tested them via two online experiments (N = 546). Between the conditions we systematically varied the available perceptual features, and the existence of non-obvious rules. We found that our card sorting game elicited insight experience. In the first experiment, our data revealed that solution strategies and insight experience varied by the availability and saliency of perceptual features. The discovery of a non-obvious rule, which is not hinted at by perceptual features, was most difficult. With our new paradigm, we were able to construe ambiguous problems which allowed participants to find more than one solution strategy. Interestingly, we realized interindividual preferences for different strategies. The same problem drove strategies which either relied on feature integration or on more deliberate strategies. The second experiment varied the degree of independence of a sorting rule from the standard rules which were in accordance with prior knowledge. It was shown that the more independent the hidden rule was, the more difficult the task became. In sum, we demonstrated a new insight task which extended the available task domains and shed light on sequential and multi-step rule learning problems. Finally, we provided a first sketch of a cognitive model that should help to integrate the data within the existing literature on cognitive models and speculated about the generalizability of the interplay of prior knowledge modification and variation for problem solving.

A new method for training creativity: narrative as an alternative to divergent thinking

Creativity is a major source of innovation, growth, adaptability, and psychological resilience, making it a top priority of governments, global corporations, educational institutions, and other organizations that collectively invest hundreds of millions of dollars annually into training. The current foundation of creativity training is the technique known as divergent thinking; yet for decades, concerns have been raised about the adequacy of divergent thinking: it is incongruent with the creative processes of children and most adult creatives, and it has failed to yield expected downstream results in creative production. In this article, we present an alternative approach to creativity training, based in neural processes different from those involved in divergent thinking and drawing upon a previously unused resource for creativity research: narrative theory. We outline a narrative theory of creativity training; illustrate with examples of training and assessment from our ongoing work with the U.S. Department of Defense, Fortune 50 companies, and graduate and professional schools; and explain how the theory can help fill prominent lacunae and gaps in existing creativity research, including the creativity of children, the psychological mechanisms of scientific and technological innovation, and the failure of computer artificial intelligence to replicate human creativity.

From Something Old to Something New: Functionalist Lessons for the Cognitive Science of Scientific Creativity

An intuitive view is that creativity involves bringing together what is already known and familiar in a way that produces something new. In cognitive science, this intuition is typically formalized in terms of computational processes that combine or associate internally represented information. From this computationalist perspective, it is hard to imagine how non-representational approaches in embodied cognitive science could shed light on creativity, especially when it comes to abstract conceptual reasoning of the kind scientists so often engage in. The present article offers an entry point to addressing this challenge. The scientific project of embodied cognitive science is a continuation of work in the functionalist tradition in psychology developed over a century ago by William James and John Dewey, among others. The focus here is on how functionalist views on the nature of mind, thought, and experience offer an alternative starting point for cognitive science in general, and for the cognitive science of scientific creativity in particular. The result may seem paradoxical. On the one hand, the article claims that the functionalist conceptual framework motivates rejecting mainstream cognitive views of creativity as the combination or association of ideas. On the other hand, however, the strategy adopted here—namely, revisiting ideas from functionalist psychology to inform current scientific theorizing—can itself be described as a process of arriving at new, creative ideas from combinations of old ones. As is shown here, a proper understanding of cognition in light of the functionalist tradition resolves the seeming tension between these two claims.

The influence of exposure to randomness on lateral thinking in divergent, convergent, and creative search

Exposure to random stimuli has often been suggested to help unlock problem-solving abilities and creativity, helping us to see problems differently and imagine new possibilities. Equally, randomness is widely used in computer science to escape local maxima and find effective solutions to intractable problems. However, randomness has rarely been used as a formal aid in human decision making or investigated in controlled experimental settings. In this pre-registered study, we tested the effect of extraneous random stimuli using Wikipedia's random page generator on 592 British participants' performance across three online tasks: one 'convergent' forecasting task and two 'divergent' fluency tasks. We found no improvement associated with the treatment and often significant impairment. A Bayesian meta-analysis of the tasks finds strong support for the null hypothesis. We conclude that stimulating lateral thinking through random stimuli is non-trivial and may require such stimuli to be sufficiently task-related or 'optimally random'.

How the Immune System Deploys Creativity: Why We Can Learn From Astronauts and Cosmonauts

In this interdisciplinary article, we investigate the relationship between creativity and the immune system; the creative features of the immune system and how the immune system and its role in regulating homeostasis might be related to creative cognition. We argue that within a multivariate approach of creativity, the immune system is a contributing factor. New directions for research are also discussed. When astronauts and cosmonauts venture into the new and extreme environment of outer space, their immune system needs to instantly adapt and find new answers to survive biologically and psychologically. Many astronauts report interest in creative activities and therefore represent an interesting group to investigate creativity in relation with the immune system. Little is known regarding (1) how the immune system interacts with and supports creative cognition and behavior, (2) if an individual's immune system, interacting with cognition, adapts more originally to a new environment compared to another's; in other words, if there is creativity in the domain of the immune system, and (3) the creative properties and functions of the immune system itself.

The Relationships Between Trait Creativity and Resting-State EEG Microstates Were Modulated by Self-Esteem

Numerous studies find that creativity is not only associated with low effort and flexible processes but also associated with high effort and persistent processes especially when defensive behavior is induced by negative emotions. The important role of self-esteem is to buffer negative emotions, and individuals with low self-esteem are prone to instigating various forms of defensive behaviors. Thus, we thought that the relationships between trait creativity and executive control brain networks might be modulated by self-esteem. The resting-state electroencephalogram (RS-EEG) microstates can be divided into four classical types (MS1, MS2, MS3, and MS4), which can reflect the brain networks as well as their dynamic characteristic. Thus, the Williams Creative Tendency Scale (WCTS) and Rosenberg Self-esteem Scale (RSES) were used to investigate the modulating role of self-esteem on the relationships between trait creativity and the RS-EEG microstates. As our results showed, self-esteem consistently modulated the relationships between creativity and the duration and contribution of MS2 related to visual or imagery processing, the occurrence of MS3 related to cingulo-opercular networks, and transitions between MS2 and MS4, which were related to frontoparietal control networks. Based on these results, we thought that trait creativity was related to the executive control of bottom-up processing for individuals with low self-esteem, while the bottom-up information from vision or visual imagery might be related to trait creativity for individuals with high self-esteem.

Creativity on demand - Hacking into creative problem solving

How can creative problem solving be enhanced? The paper identifies and examines modulatory approaches from the cognitive and neuroscientific literature that have been made to make creative problem solving better. We review neuromodulatory approaches of both global and local effects. Through a 2-process model of creative problem solving that involves both automatic and controlled processes, we demonstrate how these approaches could be used and what potential they may have for enhancing creative problem solving. We conclude that direct neuromodulation will be best used in unison with behavioral manipulations of cognition, and that better understanding of these manipulations should inform and guide research on direct neuromodulatory procedures.

The Predictive Creative Mind: A First Look at Spontaneous Predictions and Evaluations During Idea Generation

Idea generation, the process of creating and developing candidate solutions that when implemented can solve ill-defined and complex problems, plays a pivotal role in creativity and innovation. The algorithms that underlie classical evolutionary, cognitive, and process models of idea generation, however, appear too inefficient to effectively help solve the ill-defined and complex problems for which one would engage in idea generation. To address this, these classical models have recently been redesigned as forward models, drawing heavily on the "predictive mind" literature. These pose that more efficiency can be achieved by making predictions based on heuristics, previous experiences, and domain knowledge about what material to use to generate ideas with, and evaluate these subsequently generated ideas based on whether they indeed match the initial prediction. When a discrepancy occurs between prediction and evaluation, new predictions are made, and thus shaping what actions, and how these actions, are undertaken. Although promising, forward models of idea generation remain theoretical and thus no empirical evidence exists about whether such predictions and evaluations indeed form part of the idea generation process. To take a first empirical look at this, a mixed-methods study was conducted by analyzing people's self-reports for the reasons of the actions that they take during an idea generation task. The results showed that predictions and evaluations are pervasive in the idea generation process. Specifically, switching between concept selection and conceptual combination and idea generation, as well as repeating idea generation based on earlier selected conceptual combination, and possibly (but to a lesser extent) concept selection and the repetition thereof, are likely to be driven by predictions and evaluations. Moreover, the frequencies of the predictions and evaluations that drive these actions influenced the amount of ideas generated, amount of concepts used, and within-concept fluency (the ratio of the amount of ideas generated per concept used). Therefore, the contribution of this paper is the first empirical evidence that indicates that the idea generation process is driven by both predictions and evaluations.

Creative Outcome as Implausible Utility

Two perspectives are used to reframe Simonton’s recent three-factor definition of creative outcome. The first perspective is functional: that creative ideas are those that add significantly to knowledge by providing both utility and learning. The second perspective is calculational: that learning can be estimated by the change in probabilistic beliefs about an idea’s utility before and after it has played out in its environment. The results of the reframing are proposed conceptual and mathematical definitions of (a) creative outcome as the product of two overarching factors (utility and learning) and (b) learning as a function of two subsidiary factors (blindness reduction and surprise). Learning will be shown to depend much more strongly on surprise than on blindness reduction, so creative outcome may then also be defined as “implausible utility.”

The creative thinking cognitive process influenced by acute stress in humans: an electroencephalography study

This study examined the underlying neural mechanism of acute stress affecting creative thinking. Twenty-six male participants underwent the Alternative Uses Test before and after acute stress test (Montreal Imaging Stress Task). Compared to before stress, stressed participants responded with higher salivary cortisol and salivary alpha-amylase. The electroencephalogram results indicated a general decrease in upper-frequency alpha power after stress, compared with that of before stress. The decrease in upper-frequency alpha power observed in the first stage after exposure to stress was related to memory and attention. Additionally, stress also reduced the differences between individuals with different creative abilities. In summary, these findings indicated that acute stress impaired creative thinking and primarily affected the earlier phase of the process of creative cognition. This study provides some practical implications for educational practice and corporate innovation in that a more relaxed environment promotes creative output. Lay Summary Acute stress impaired creative thinking performance and mainly affects the earlier phase of the process of creative cognition. Additionally, stress seems to reduce the differences between individuals with different creative abilities.

The Psychology of Cultural Dynamics: What Is It, What Do We Know, and What Is Yet to Be Known?

The psychology of cultural dynamics is the psychological investigation of the formation, maintenance, and transformation of culture over time. This article maps out the terrain, reviews the existing literature, and points out potential future directions of this research. It is divided into three parts. The first part focuses on micro-cultural dynamics, which refers to the social and psychological processes that contribute to the dissemination and retention of cultural information. The second part, on micro-macro dynamics, investigates how micro-level processes give rise to macro-cultural dynamics. The third part focuses on macro-cultural dynamics, referring to the distribution and long-term trends involving cultural information in a population, which in turn enable and constrain the micro-level processes. We conclude the review with a consideration of future directions, suggesting behavior change research as translational research on cultural dynamics.

Conflict across representational gaps: Threats to and opportunities for improved communication

Often, the senders and receivers of scientific communication have different knowledge bases. While such communication is essential for solving the complex social and technological problems that affect multiple stakeholders, a diversity of knowledge among communicators can create representational gaps (rGaps). rGaps occur when senders make assumptions that receivers do not, creating conflict over the meaning and value of the information communicated. Such conflict could, if managed, promote learning and innovation as communicators reconcile their assumptions. More often, however, rGaps cause conflict to transform from a debate that informs to an argument that divides. Managing rGap conflict so that it does not degrade communication requires relationship building to mitigate the negative by-products of persistent conflict while maintaining appropriate levels of cognitive distinctiveness among diverse stakeholders. Thus, we provide a framework for identifying and leveraging rGaps through managed conflict so that communication between those with different perspectives builds rather than burns bridges.

A Decision Tree Based Methodology for Evaluating Creativity in Engineering Design

Multiple metrics have been proposed to measure the creativity of products, yet there is still a need for effective, reliable methods to assess the originality of new product designs. In the present article we introduce a method to assess the originality of concepts that are produced during idea generation activities within engineering design. This originality scoring method uses a decision tree that is centered around distinguishing design innovations at the system level. We describe the history and the development of our originality scoring method, and provide evidence of its reliability and validity. A full protocol is provided, including training procedures for coders and multiple examples of coded concepts that received different originality scores. We summarize data from over 500 concepts for garbage collection systems that were scored by Kershaw et al. (2015). We then show how the originality scoring method can be applied to a different design problem. Our originality scoring method, the Decision Tree for Originality Assessment in Design (DTOAD), has been a useful tool to identify differences in originality between various cohorts of Mechanical Engineering students. The DTOAD reveals cross-sectional differences in creativity between beginning and advanced students, and shows longitudinal growth in creativity from the beginning to the end of the undergraduate career, thus showing how creativity can be influenced by the curriculum. The DTOAD can be applied to concepts produced using different ideation procedures, including concepts produced both with and without a baseline example product, and concepts produced when individuals are primed to think of different users for their designs. Finally, we show how our the DTOAD compares to other measurements of creativity, such as novelty, fixation, and remoteness of association.

Creative Genius as Causal Agent in History: William James's 1880 Theory Revisited and Revitalized

Near the onset of his illustrious career, the psychologist William James proposed a theory of how individual genius can exert a unique and enduring causal impact on the history of civilization. After first attacking the prevailing view that sociocultural determinism rendered individual creators and leaders mere epiphenomena, James argued that the causal effect of the genius paralleled that of the spontaneous variation or mutation in the theory of evolution by natural selection. Although his specific arguments suffer severe problems even from the standpoint of his own theory, current psychological research on creativity and genius indicate how his basic thesis can be revised and updated with respect to creative genius. This revision and updating concentrates specifically on what is known about the behavioral productivity, thinking processes and procedures, personality characteristics, and early developmental experiences in highly creative individuals. These modern enhancements then lead to the integrated discussion of Jamesian free will and the causal agency of the creative genius. The net result is a revitalized theory of how it even becomes possible for single individuals to make creative choices that not only may cause changes in their own lives, but also alter the course of world history.

Transformations in Breakthrough Research: The Emergence of Mirnas as a Research Routine in Molecular Biology

Of the three main areas of science studies that emerged after WWII (Kawalec, 2018), namely social studies of science, economics of knowledge and scientometrics, it was the latter that gained particular prominence in science policy around the 1990’s with the advent of New Public Management (Pollitt, Thiel, & Homburg, 2007). One of its focal areas has been identification of emerging topics in science. They are incessantly assumed to be an outcome of a simple cumulative progress of scientific knowledge (Price, 1976; Merton, 1988; Bird, 2007; Fochler, 2016). In my paper I challenge this assumption of simple cumulativity and argue that the emergence of breakthrough topics in science is preceded by a sequence of transformation phases. Using the example of “microRNA&cancer” as an emergent topic identified by a quantitative analysis of a large dataset of publications (Small et al. 2014) I demonstrate that the proposed analysis of transformation phases complements big data quantitative analyses with theoretical understanding of the dynamics mechanism and, in effect, leads to a more adequate characterization of the topic itself as well as a more precise identification of the source publications. While the proposed method uses a more complex (meso-level) unit of analysis (i.e. “research routines”) instead of citations and co-occurrence of single publications (micro-level), it integrates quantitative with qualitative analyses.

Can shared mechanisms of cultural evolution illuminate the process of creativity within the arts and the sciences

All creative activity brings about change, since it results in the production of something that did not previously exist. The act of creation is itself influenced by changes that have been previously brought about by others, including previous acts of creation. As with any human behavior, creativity has both biological and cultural aspects and is therefore influenced by biological as well as cultural evolution. However, biological evolution operates slowly and over a much longer timescale than cultural evolution, and change occurring within a human lifetime must be driven by cultural and social, rather than biological processes. In order to examine changes at this timescale, we therefore assume a fixed biological substrate and examine how creativity occurs in a social and cultural context. We argue that a fuller understanding of artistic creativity arises from setting this phenomenon in a wider context that encompasses creativity in both the arts and the sciences. We analyze creativity using the BVSR model developed by Simonton and conclude that creativity is driven by similar mechanisms in both domains. We propose that the arts and the sciences are not qualitatively different intellectual domains but should be conceptualized as activities situated at different regions of a continuum of human endeavor. This suggests that it would be fruitful for both scientists and artists to devote more attention to learning from the achievements of those who generate creative ideas at different points on this continuum.

Evolution in Mind: Evolutionary Dynamics, Cognitive Processes, and Bayesian Inference

Evolutionary theory describes the dynamics of population change in settings affected by reproduction, selection, mutation, and drift. In the context of human cognition, evolutionary theory is most often invoked to explain the origins of capacities such as language, metacognition, and spatial reasoning, framing them as functional adaptations to an ancestral environment. However, evolutionary theory is useful for understanding the mind in a second way: as a mathematical framework for describing evolving populations of thoughts, ideas, and memories within a single mind. In fact, deep correspondences exist between the mathematics of evolution and of learning, with perhaps the deepest being an equivalence between certain evolutionary dynamics and Bayesian inference. This equivalence permits reinterpretation of evolutionary processes as algorithms for Bayesian inference and has relevance for understanding diverse cognitive capacities, including memory and creativity.

Cognitive Architecture with Evolutionary Dynamics Solves Insight Problem

In this paper, we show that a neurally implemented a cognitive architecture with evolutionary dynamics can solve the four-tree problem. Our model, called Darwinian Neurodynamics, assumes that the unconscious mechanism of problem solving during insight tasks is a Darwinian process. It is based on the evolution of patterns that represent candidate solutions to a problem, and are stored and reproduced by a population of attractor networks. In our first experiment, we used human data as a benchmark and showed that the model behaves comparably to humans: it shows an improvement in performance if it is pretrained and primed appropriately, just like human participants in Kershaw et al. (2013)'s experiment. In the second experiment, we further investigated the effects of pretraining and priming in a two-by-two design and found a beginner's luck type of effect: solution rate was highest in the condition that was primed, but not pretrained with patterns relevant for the task. In the third experiment, we showed that deficits in computational capacity and learning abilities decreased the performance of the model, as expected. We conclude that Darwinian Neurodynamics is a promising model of human problem solving that deserves further investigation.

Mental and perceptual feedback in the development of creative flow

Sketching is considered by artists and designers to be a vital tool in the creative process. However, research shows that externalisation during the creative process (i.e., sketching) is not necessary to create effectively. This study examines whether sketching may play a more important role in the subjective experience of creativity by facilitating the deeply focused, optimal state of consciousness termed 'flow' (being 'in the zone'). The study additionally explored whether sketching affects flow by easing cognitive load or by providing a clearer sense of self-feedback. Participants carried out the creative mental synthesis task (combining sets of simple shapes into creative drawings), experimentally simulating the visual creative process. Ideas were generated either mentally before committing to a final drawing, or with external perceptual support through sketching, and cognitive load was varied by using either three- or five-shape sets. The sketching condition resulted in greater experience of flow and lower perceived task difficulty. However, cognitive load did not affect flow and there was no interaction between load and sketching conditions. These findings are the first to empirically demonstrate that sketching increases flow experience, and that this is not dependent on an associated reduction in overall working memory load.

Bebop on the Hockey Pitch: Cross-Disciplinary Creativity and Skills Transfer

This paper generalizes task-specific (but dissimilar) skills, from the jazz concert stage and from the hockey field, into the domain of creativity research. What is sought are clues to what skills or creativities are transferable across dissimilar domains. It is argued that certain domain-general skills are transferable across domains, but a domain-general or ‘c’ creative capacity, is not. Rather than transferring some over-arching capacity to be universally creative, this research highlights factors likely to facilitate successful cross-disciplinary creative expression and posits a correlation between the capacities for discriminant pattern-recognition, task-specific expertise, and sensory data-collection, and the transferability of creativity. Of particular significance is the capacity for informed, selective pattern-breaking based on the ‘depth’ or ‘insider’ perspective of the domain expert; such ‘expert variation and selective retention’ provides creative choices and responses that are likely to be perceived by the field as creative: valuable, novel and surprising. The author is a renowned Australian studio bassist, jazz musician, and music educator who also plays field hockey for Australia at Masters level. His recently completed Ph.D. thesis, based on a performance and composition career spanning 46 years, takes the form of an analytical autoethnography drawn from personal field notes, diaries and interviews as well as published record albums.

Cultural Evolutionary Perspectives on Creativity and Human Innovation

Cultural traits originate through creative or innovative processes, which might be crucial to understanding how culture evolves and accumulates. However, because of its complexity and apparent subjectivity, creativity has remained largely unexplored as the dynamic underpinning of cultural evolution. Here, we explore the approach to innovation commonly taken in theoretical studies of cultural evolution and discuss its limitations. Drawing insights from cognitive science, psychology, archeology, and even animal behavior, it is possible to generate a formal description of creativity and to incorporate a dynamic theory of creativity into models of cultural evolution. We discuss the implications of such models for our understanding of the archaeological record and the history of hominid culture.

Psychology as a Science within Comte's Hypothesized Hierarchy: Empirical Investigations and Conceptual Implications

Auguste Comte suggested that the main sciences could be grouped into a hierarchical ordering that reflected their objective characteristics (viz., generality, dependence, and complexity). In particular, the empirical sciences could be placed in the following order: astronomy, physics, chemistry, biology, and sociology. Although his idea was initially discredited in the sociology of science, subsequent research indicates that the conjecture has considerable empirical merit. Significantly, that research inserts psychology between biology and sociology, with significantly more proximity with biology. After replicating the earlier findings using new measures, the metatheoretical basis for the hierarchical arrangement is then examined. The article closes with suggestions for further empirical and theoretical research on psychology's placement in the hierarchical arrangement.

The virtue of innovation: innovation through the lenses of biological evolution

We rehearse the processes of innovation and discovery in general terms, using as our main metaphor the biological concept of an evolutionary fitness landscape. Incremental and disruptive innovations are seen, respectively, as successful searches carried out locally or more widely. They may also be understood as reflecting evolution by mutation (incremental) versus recombination (disruptive). We also bring a platonic view, focusing on virtue and memory. We use 'virtue' as a measure of efforts, including the knowledge required to come up with disruptive and incremental innovations, and 'memory' as a measure of their lifespan, i.e. how long they are remembered. Fostering innovation, in the evolutionary metaphor, means providing the wherewithal to promote novelty, good objective functions that one is trying to optimize, and means to improve one's knowledge of, and ability to navigate, the landscape one is searching. Recombination necessarily implies multi- or inter-disciplinarity. These principles are generic to all kinds of creativity, novel ideas formation and the development of new products and technologies.

The meta-analytic big bang

This article looks at the impact of meta-analysis and then explores why meta-analysis was developed at the time and by the scholars it did in the social sciences in the 1970s. For the first problem, impact, it examines the impact of meta-analysis using citation network analysis. The impact is seen in the sciences, arts and humanities, and on such contemporaneous developments as multilevel modeling, medical statistics, qualitative methods, program evaluation, and single-case design. Using a constrained snowball sample of citations, we highlight key articles that are either most highly cited or most central to the systematic review network. Then, the article examines why meta-analysis came to be in the 1970s in the social sciences through the work of Gene Glass, Robert Rosenthal, and Frank Schmidt, each of whom developed similar theories of meta-analysis at about the same time. The article ends by explaining how Simonton's chance configuration theory and Campbell's evolutionary epistemology can illuminate why meta-analysis occurred with these scholars when it did and not in medical sciences.