A novel coding scheme for assessing responses in divergent thinking: An embodied approach

Recognizing ideas generated in a creative task: the roles of the hippocampus and medial prefrontal cortex in facilitating self-generated learning

Creative idea generation plays an important role in promoting successful memory formation. Yet, its underlying neural correlates remain unclear. We investigated the self-generated learning of creative ideas motivated by the schema-linked interactions between medial prefrontal and medial temporal regions framework. This was achieved by having participants generate ideas in the alternative uses task, self-evaluating their ideas based on novelty and source (i.e. new or old), and then later being tested on the recognition performance of the generated ideas. At the behavioral level, our results indicated superior performances in discriminating novel ideas, highlighting the novelty effect on memory. At the neural level, the regions-of-interest analyses revealed that successful recognition of novel ideas was associated with greater activations in the hippocampus (HPC) and medial prefrontal cortex (mPFC) during ideation. However, only activation in the right HPC was positively related to the successful recognition of novel ideas. Importantly, the weaker the connection between the right HPC and left mPFC, the higher the recognition accuracy of novel ideas. Moreover, activations in the right HPC and left mPFC were both effective predictors of successful recognition of novel ideas. These findings uniquely highlight the role of novelty in promoting self-generated learning of creative ideas.

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.

The Role of Semantic Associations as a Metacognitive Cue in Creative Idea Generation

Is my idea creative? This question directs investing in companies and choosing a research agenda. Following previous research, we focus on the originality of ideas and consider their association with self-assessments of idea generators regarding their own originality. We operationalize the originality score as the frequency (%) of each idea within a sample of participants and originality judgment as the self-assessment of this frequency. Initial evidence suggests that originality scores and originality judgments are produced by separate processes. As a result, originality judgments are prone to biases. So far, heuristic cues that lead to such biases are hardly known. We used methods from computational linguistics to examine the semantic distance as a potential heuristic cue underlying originality judgments. We examined the extent to which the semantic distance would contribute additional explanatory value in predicting originality scores and originality judgments, above and beyond cues known from previous research. In Experiment 1, we re-analyzed previous data that compared originality scores and originality judgments after adding the semantic distance of the generated ideas from the stimuli. We found that the semantic distance contributed to the gap between originality scores and originality judgments. In Experiment 2, we manipulated the examples given in task instructions to prime participants with two levels of idea originality and two levels of semantic distance. We replicated Experiment 1 in finding the semantic distance as a biasing factor for originality judgments. In addition, we found differences among the conditions in the extent of the bias. This study highlights the semantic distance as an unacknowledged metacognitive cue and demonstrates its biasing power for originality judgments.

Alternative Object Use in Adults and Children: Embodied Cognitive Bases of Creativity

Why does one need creativity? On a personal level, improvisation with available resources is needed for online coping with unforeseen environmental stimuli when existing knowledge and apparent action strategies do not work. On a cultural level, the exploitation of existing cultural means and norms for the deliberate production of novel and valuable artifacts is a basis for cultural and technological development and extension of human action possibilities across various domains. It is less clear, however, how creativity develops and how exactly one arrives at generating new action possibilities and producing multiple alternative action strategies using familiar objects. In this theoretical paper, we first consider existing accounts of the creative process in the Alternative Uses Task and then present an alternative interpretation, drawing on sociocultural views and an embodied cognition approach. We explore similarities between the psychological processes underlying the generation of new uses in the Alternative Uses Task and children’s pretend play. We discuss possible cognitive mechanisms and speculate how the generation of new action possibilities for common objects in pretend play can be related to adults’ ability to generate new action strategies associated with object use. Implications for creativity development in humans and embodied artificial agents are discussed.

Semantic Memory and Creativity: The Costs and Benefits of Semantic Memory Structure in Generating Original Ideas

Despite its theoretical importance, little is known about how semantic memory structure facilitates and constrains creative idea production. We examine whether the semantic richness of a concept has both benefits and costs to creative idea production. Specifically, we tested whether cue set-size-an index of semantic richness reflecting the average number of elements associated with a given concept-impacts the quantity (fluency) and quality (originality) of responses generated during the alternate uses task (AUT). Across four studies, we show that low-association, sparse, AUT cues benefit originality at the cost of fluency compared to high-association, rich, AUT cues. Furthermore, we found an interaction with individual differences in fluid intelligence in the low-association AUT cues, suggesting that constraints of sparse semantic knowledge can be overcome with top-down intervention. The findings indicate that semantic richness differentially impacts the quality and quantity of generated ideas, and that cognitive control processes can facilitate idea production when conceptual knowledge is limited.

The Influence of Situational Cues on Children's Creativity in an Alternative Uses Task and the Moderating Effect of Selective Attention

Taking a perception-action perspective, we investigated how the presence of different real objects in children's immediate situation affected their creativity and whether this effect was moderated by their selective attention. Seventy children between ages 9 and 12 years old participated. Verbal responses on a visual Alternative Uses Task with a low stimulus and high stimulus condition were coded on fluency, flexibility, and originality. Selective attention was measured with a visual search task. Results showed that fluency was not affected by stimulus condition and was unrelated to selective attention. Flexibility was positively associated with selective attention. Originality, net of fluency and flexibility, showed a main effect of stimulus condition in an unexpected direction, as children gave more original responses in the low stimulus condition compared to the high stimulus condition. A significant moderation effect revealed that children with better selective attention skills benefitted from a low stimulus environment, whereas children with weaker selective attention performed better in a high stimulus environment. The findings demonstrate differential effects of the immediate situation and selective attention, and support the hypothesis that creativity is impacted by immediate situation and selective attention, yet in unexpected ways.