Creativity, brain, and art: biological and neurological considerations

How people with brain injury run and evaluate a SLAM-based smartphone augmented reality application to assess object-location memory

Augmented reality (AR) technology allows virtual objects to be superimposed on the real-world environment, offering significant potential for improving cognitive assessments and rehabilitation processes in the field of visuospatial learning. This study examines how patients with acquired brain injury (ABI) evaluate the functions and usability of a SLAM-based smartphone AR app to assess object-location skills. Ten ABI patients performed a task for the spatial recall of four objects using an AR app. The data collected from 10 healthy participants provided reference values for the best performance. Their perceptions of the AR app/technology and its usability were investigated. The results indicate lower effectiveness in solving the task in the patient group, as the time they needed to complete it was related to their level of impairment. The patients showed lower, yet positive, scores in factors related to app usability and acceptance (e.g., mental effort and satisfaction, respectively). There were more patients reported on entertainment as a positive aspect of the app. Patients' perceived enjoyment was related to concentration and calm, whereas usability was associated with perceived competence, expertise, and a lower level of physical effort. For patients, the sensory aspects of the objects were related to their presence, while for healthy participants, they were related to enjoyment and required effort. The results show that AR seems to be a promising tool to assess spatial orientation in the target patient population.

The effect of expertise on the creation and evaluation of visual compositions in terms of creativity and beauty

The identification of artistically creative individuals is an important matter in the fields of art, design, and psychology. One promising approach involves assessing a person's products rather than his or her personality or cognitive processes. However, the necessity of expert involvement in such evaluations is still debated. To investigate this issue, two experiments were conducted, each consisting of a production phase and an evaluation phase. In Experiment 1, participants were asked to compose a most beautiful picture, which was subsequently assessed in terms of beauty. Experiment 2 was analogous, but participants were asked to compose a most creative picture, which was then assessed in terms of creativity and beauty. The results revealed that expertise did not play a crucial role in the creation or evaluation of beauty. Both experts and non-experts largely agreed on what constitutes beauty. However, when it came to the production and assessment of creative pictures, experts had an advantage. They were the only group that was able to predict a person's creativity based on the evaluation of his or her product.

Creative therapy in health and disease: Inner vision

Can we better understand the unique mechanisms of de novo abilities in light of our current knowledge of the psychological and neuroscientific literature on creativity? This review outlines the state-of-the-art in the neuroscience of creativity and points out crucial aspects that still demand further exploration, such as brain plasticity. The progressive development of current neuroscience research on creativity presents a multitude of prospects and potentials for furnishing efficacious therapy in the context of health and illness. Therefore, we discuss directions for future studies, identifying a focus on pinpointing the neglected beneficial practices for creative therapy. We emphasize the neglected neuroscience perspective of creativity on health and disease and how creative therapy could offer limitless possibilities to improve our well-being and give hope to patients with neurodegenerative diseases to compensate for their brain injuries and cognitive impairments by expressing their hidden creativity.

The Paintings Reveal the Story: Case Study of a Well-Known Swedish Artist Suffering from Alzheimer's Disease

Background

Creativity is a multifaceted, complex, activity, and as such is an overarching function of the brain rather than being confined to a specific structure or region.Alzheimer's disease effects several cognitive domains involved in the creative process of producing art.

Objective

We analyze the art of a well-known Swedish visual artist who suffered from Alzheimer's disease to determine if, and in what way, his art and creative process might have been influenced by the disease.

Methods

We compared his artistic process and artwork along with information from his spouse, medical r ecords, and cognitive tests as well as reviews of exhibitions written by art critics.

Results

We show that not only did the artist continue to produce artwork well into a major decline in cognitive function, according to commonly used tests, but he could continue to do so for even longer with some assistance from his spouse. However, the artwork changed considerably as the disease progressed. We hypothesize that there is a substantial lack of representation of creative ability and function in cognitive tests.

Conclusions

Signs of the Alzheimer's disease can be seen in the early artwork if viewed by critics and those with more specialized knowledge into the artist's production. Further analysis of the complex interaction between complex neural activities, such as artistic creativity, and cognitive diseases is warranted and might provide insight in the field of neurological degenerative disease.

Wonder symphony: epigenetics and the enchantment of the arts

Epigenetics, the study of heritable changes in gene expression without altering the DNA sequence, has gained significant attention due to its implications for gene regulation and chromatin stability. Epigenetic mechanisms play a fundamental role in gene-environment interactions, shaping individual development and adaptation. DNA methylation, histone modifications, and non-coding RNAs are key epigenetic regulators. Epigenetic changes can be triggered by environmental factors, including stress, toxins, and social interactions, influencing health and well-being. Positive experiences, such as engagement with the arts, have been linked to emotional responses and neurotransmitter release. While the impacts of detrimental factors on epigenetics have been widely studied, the effects of positive influences are less explored. Specifically, visual art and music have profound effects on emotions, cognition, and mood regulation. Exposure to arts enhances memory, reduces stress, and fosters social inclusion. Recent research has begun to explore the links between positive experiences and epigenetic modifications, suggesting that aesthetic experiences, including visual art and music fruition, might induce dynamic and/or stable changes in gene expression profiles. However, this field is in its infancy, and more research is needed to establish clear connections. Collaborative efforts among genetics, epigenetics, neuroscience, psychology, and the arts are essential for a comprehensive understanding. Longitudinal studies tracking sustained exposure to positive experiences and examining the influence of childhood artistic education on the biological bases of therapeutic effects of art and music are promising avenues for future research. Ultimately, understanding how positive experiences influence epigenetics could provide insights into the long-term enhancement of human well-being.

Prevalence, Timing, and Network Localization of Emergent Visual Creativity in Frontotemporal Dementia

Importance

The neurological substrates of visual artistic creativity (VAC) are unknown. VAC is demonstrated here to occur early in frontotemporal dementia (FTD), and multimodal neuroimaging is used to generate a novel mechanistic hypothesis involving dorsomedial occipital cortex enhancement. These findings may illuminate a novel mechanism underlying human visual creativity.

Objective

To determine the anatomical and physiological underpinnings of VAC in FTD.

Design, Setting, and Participants

This case-control study analyzed records of 689 patients who met research criteria for an FTD spectrum disorder between 2002 and 2019. Individuals with FTD and emergence of visual artistic creativity (VAC-FTD) were matched to 2 control groups based on demographic and clinical parameters: (1) not visually artistic FTD (NVA-FTD) and (2) healthy controls (HC). Analysis took place between September 2019 to December 2021.

Main Outcomes and Measures

Clinical, neuropsychological, genetic, and neuroimaging data were analyzed to characterize VAC-FTD and compare VAC-FTD with control groups.

Results

Of 689 patients with FTD, 17 (2.5%) met VAC-FTD inclusion criteria (mean [SD] age, 65 [9.7] years; 10 [58.8%] female). NVA-FTD (n = 51; mean [SD] age, 64.8 [7] years; 25 [49.0%] female) and HC (n = 51; mean [SD] age, 64.5 [7.2] years; 25 [49%] female) groups were well matched to VAC-FTD demographically. Emergence of VAC occurred around the time of onset of symptoms and was disproportionately seen in patients with temporal lobe predominant degeneration (8 of 17 [47.1%]). Atrophy network mapping identified a dorsomedial occipital region whose activity inversely correlated, in healthy brains, with activity in regions found within the patient-specific atrophy patterns in VAC-FTD (17 of 17) and NVA-FTD (45 of 51 [88.2%]). Structural covariance analysis revealed that the volume of this dorsal occipital region was strongly correlated in VAC-FTD, but not in NVA-FTD or HC, with a volume in the primary motor cortex corresponding to the right-hand representation.

Conclusions and Relevance

This study generated a novel hypothesis about the mechanisms underlying the emergence of VAC in FTD. These findings suggest that early lesion-induced activation of dorsal visual association areas may predispose some patients to the emergence of VAC under certain environmental or genetic conditions. This work sets the stage for further exploration of enhanced capacities arising early in the course of neurodegeneration.

Can we really 'read' art to see the changing brain? A review and empirical assessment of clinical case reports and published artworks for systematic evidence of quality and style changes linked to damage or neurodegenerative disease

The past three decades have seen multiple reports of people with neurodegenerative disorders, or other forms of changes in their brains, who also show putative changes in how they approach and produce visual art. Authors argue that these cases may provide a unique body of evidence, so-called 'artistic signatures' of neurodegenerative diseases, that might be used to understand disorders, provide diagnoses, be employed in treatment, create patterns of testable hypotheses for causative study, and also provide unique insight into the neurobiological linkages between the mind, brain, body, and the human penchant for art-making itself. However-before we can begin to meaningfully build from such emerging findings, much less formulate applications-not only is such evidence currently quite disparate and in need of systematic review, almost all case reports and artwork ratings are entirely subjective, based on authors' personal observations or a sparse collection of methods that may not best fit underlying research aims. This leads to the very real question of whether we might actually find patterns of systematic change if fit to a rigorous review-Can we really 'read' art to illuminate possible changes in the brain? How might we best approach this topic in future neuroscientific, clinical, and art-related research? This paper presents a review of this field and answer to these questions. We consider the current case reports for seven main disorders-Alzheimer's and Parkinson's disease, frontotemporal and Lewy body dementia, corticobasal degeneration, aphasia, as well as stroke-consolidating arguments for factors and changes related to art-making and critiquing past methods. Taking the published artworks from these papers, we then conduct our own assessment, employing computerized and human-rater-based approaches, which we argue represent best practice to identify stylistic or creativity/quality changes. We suggest, indeed, some evidence for systematic patterns in art-making for specific disorders and also find that case authors showed rather high agreement with our own assessments. More important, through opening this topic and past evidence to a systematic review, we hope to open a discussion and provide a theoretical and empirical foundation for future application and research on the intersection of art-making and the neurotypical, the changed, and the artistic brain.

Understanding creativity process through electroencephalography measurement on creativity-related cognitive factors

Introduction

Neurotechnology approaches, such as electroencephalography (EEG), can aid understanding of the cognitive processes behind creativity.

Methods

To identify and compare the EEG characteristics of creativity-related cognitive factors (remote association, common association, combination, recall, and retrieval), 30 participants were recruited to conduct an EEG induction study.

Results

From the event-related potential (ERP) results and spectral analysis, the study supports that creativity is related to the frontal lobe areas of the brain and common association is an unconscious process.

Discussion

The results help explain why some creativity-related cognitive factors are involved either more or less readily than others in the creative design process from workload aspects. This study identifies the part of the brain that is involved in the combination cognitive factor and detects the ERP results on cognitive factors. This study can be used by designers and researchers to further understand the cognitive processes of creativity.

Evolved Features of Artistic Motivation: Analyzing a Brazilian Database Spanning Three Decades

Darwin explored the evolutionary processes underlying artistic propensities in humans. He stressed the universality of the human mind by pointing to the shared pleasure which all populations take in dancing, engaging in music, acting, painting, tattooing, and self-decorating. Artistic motivation drives/reinforces individuals to engage in aesthetically oriented activities. As curiosity/play, artistic behavior is hypothesized as a functionally autonomous activity motivated intrinsically through an evolved, specific, and stable aesthetic motivational system. The author tested whether artistic motivation is rather intrinsically sourced, domain-specific, and temporally stable using a large decades-long real-life public Brazilian database of university applications. In Study I, the author analyzed reasons for career-choice responded to by 403,832 late-adolescent applicants (48.84% women), between 1987 and 1998. In Study II, the author analyzed another career-choice reason question responded to by 1,703,916 late-adolescent applicants (51.02% women), between 1987 and 2020. Music, Dance, Scenic Arts, Visual Arts, and Literary Studies, in combination, presented a higher percentage of individuals reporting intrinsic factors (e.g., personal taste/aptitude/fulfillment) and the lower proportion reporting extrinsic motives (e.g., the influence of media/teacher/family, salary, social contribution/prestige) than other career groups. If artistic motivation were a recent by-product of general curiosity or status-seeking, artistic and non-artistic careers would not differ. Overall, intrinsic motives were 2.60–6.35 times higher than extrinsic factors; among artistic applicants’ were 10.81–28.38 times higher, suggesting domain-specificity. Intrinsic motivation did not differ among artistic careers and remained stable throughout the periods. Converging results corroborated a specific, stable, and intrinsically sourced artistic motivation consistent with its possible evolutionary origins.

Divergent Thinking Abilities in Frontotemporal Dementia: A Mini-Review

A large number of studies, including single case and case series studies, have shown that patients with different types of frontotemporal dementia (FTD) are characterized by the emergence of artistic abilities. This led to the hypothesis of enhanced creative thinking skills as a function of these pathological conditions. However, in the last years, it has been argued that these brain pathologies lead only to an augmented “drive to produce” rather than to the emergence of creativity. Moreover, only a few studies analyzed specific creative skills, such as divergent thinking (DT), by standardized tests. This Mini-Review aimed to examine the extent to which DT abilities are preserved in patients affected by FTD. Results showed that DT abilities (both verbal and figural) are altered in different ways according to the specific anatomical and functional changes associated with the diverse forms of FTD. On the one hand, patients affected by the behavioral form of FTD can produce many ideas because of unimpaired access to memory stores (i.e., episodic and semantic), but are not able to recombine flexibly the information to produce original ideas because of damages in the pre-frontal cortex. On the other hand, patients affected by the semantic variant are impaired also in terms of fluency because of the degradation of their semantic memory store. Potential implications, limitations, and future research directions are discussed.

Do painters need their whole brain to excel?

Skilled professional artists are sometimes able to maintain their talents while other cognitive functions deteriorate due to brain diseases. The objective of this study is to asses the preserved artistry of a professional painter in spite of the presence of strokes affecting brain areas implicated in art expression. She had a neurologic evaluation and brain imaging after the stroke; painter-curators analyzed and compared the painter's pictorial artwork created before and after the stroke. In spite of cerebellar, visuospatial, motor, cognitive, and functional deficits likely related to strokes affecting bilateral cerebellar, left occipital, and right temporal-occipital areas, the patient was able to maintain most of their artistic painting skills.. After a short period of functional recovery, our patient showed discrepancy among their impaired cerebellar cerebral functions in day activities and their preserved painting abilities.

A Comparison of Divergent Thinking Abilities Between Healthy Elderly Subjects and MCI Patients: Preliminary Findings and Implications

Objective

Divergent thinking (DT) has attracted research interest because of its potential role in early diagnosis and rehabilitation programs for patients affected by neurodegenerative diseases. Recently, DT has received even more attention because of its proven relationship with cognitive reserve (CR) and the possibility of a standardized assessment. However, few studies have investigated this ability in dementia patients, and even less is known about patients affected by Mild Cognitive Impairment (MCI). Thus, this study aims to investigate DT abilities in MCI patients.

Methods

A total of 25 MCI patients and 25 healthy controls subjects (HC; from a random selection of 50) matched for age, gender, and educational level were enrolled. General cognitive functioning was measured by the Montreal Cognitive Assessment (MoCA), while the Abbreviated Torrance Test for Adults (ATTA) was selected to measure DT.

Results

MANOVA analysis did not reveal any significant differences in DT abilities between MCI patients and HC except for the figural indicator score. A logistic hierarchical regression analysis revealed that the figural indicator score added an 8% of accuracy in the prediction of the group variable over the general cognition measure (MoCA).

Conclusion

MCI patients seem to perform significantly worse than HC only in the figural DT score and this evidence has significant practical implications. First, that figural DT seemed to decrease even earlier than verbal DT and could therefore be taken into account for early diagnosis of MCI patients. On the contrary, the sparing of all the other DT skills (such as verbal DT skills, fluency, flexibility, originality, and elaboration) may suggest that, given its relationship with CR, verbal DT could instead be considered a possible target for prevention or early cognitive stimulation interventions.

Human Self-Domestication and the Extended Evolutionary Synthesis of Addiction: How Humans Evolved a Unique Vulnerability

Humans are more vulnerable to addiction in comparison to all other mammals, including nonhuman primates, yet there is a lack of research addressing this. This paper reviews the field of comparative addiction neuroscience, highlighting the significant inter-species variation in the mesocortical dopaminergic and other neuromodulatory systems involved in addiction. Artificial selection gives rise to significant changes in neuroanatomy, neurophysiology and behaviour as shown in certain rodent strains and other domesticated animals. These changes occur over a few generations, relatively short periods of time in evolutionary terms, and demonstrate how dynamic these neuromodulatory systems are in response to the environment. During the course of human evolution, traits crucial to our survival, expansion and domination (traits such as the ability to innovate, adapt to different environments and thrive in a civilization) have been positively selected for, yet also predispose humans to addiction. This is evident in our unique neurochemistry and receptor-drug activation potencies. Examples of these are provided as possible targets for precision medicine.

Applying art observation skills to standardized patients

AIM

In this interprofessional education Art Applications Workshop, 104 medicine, nursing and psychology students apply skills developed through visual arts observations that enhance students' collaboration, communication, and observational skills to standardized patient encounters. Students observe two-dimensional images, write case reports on the paintings' subjects, and apply principles to complete assessment notes on standardized patients. This descriptive paper's goal is to disseminate this interprofessional curriculum and share experiences in implementing this workshop.

BACKGROUND

Visual arts education in healthcare programs expand students' visual, tactile and oral expression, especially in collaborative team settings.

METHODS

In session 1, student teams analyze paintings and learn visual assessment techniques. In session 2, student teams observe paintings in a museum setting and write observations in case notes. In session 3, student teams apply visual assessment techniques to standardized patient interviews, write patient histories, assessment notes, and finally, complete post-survey self-evaluations.

RESULTS

In the standardized patient assessment 73% of students made accurate diagnosis with supporting evidence in patient histories and notes. In post-survey results, 91% of students agreed/strongly agreed they improved their visual observation skills, 92% agreed/strongly agreed they improved their communication skills in listening and encouraging the ideas and opinions of other team members, 91% agreed/strongly agreed they are more confident in communicating with students from different disciplines, and 97% agreed/strongly agreed they are more confident in collaborating with students from different disciplines.

CONCLUSIONS

This Workshop demonstrates enhanced self-reported perceptions of collaboration, observation, and communication skills in case notes and standardized patient assessment notes.

Principles and features to define and describe arts interventions for people with dementia: a qualitative realist study

Background: There is currently no consensus regarding the definition and description of arts interventions for people with dementia. Developing a common language of classification will encourage reflection on artistic practice, support the evaluation and improvement of arts interventions, and enable their benefits to be communicated more effectively. Methods: Using a qualitative framework derived from taxonomy and realist methodology, a literature review was undertaken to identify what key principles underpin arts interventions. This analysis was complemented by focus groups and workshops incorporating the lived experience of carers, artists, practitioners and care staff. Results: Nine principles were identified as elements present in person-centred arts interventions for people with dementia: Animation, Transcendence, Selfhood, Humanity, Expression, Connection, Possibility, Involvement and Awareness. Conclusions: It is possible to identify the component parts of arts interventions for people with dementia. These principles form an empirical basis for understanding how arts interventions work, while still respecting their individual nature.

The format of mental imagery: from a critical review to an integrated embodied representation approach

The issue of the format of mental imagery is still an open debate. The classical analogue (depictive)-propositional (descriptive) debate has not provided definitive conclusions. Over the years, the debate has shifted within the frame of the embodied cognition approach, which focuses on the interdependence of perception, cognition and action. Although the simulation approach still retains the concept of representation, the more radical line of the embodied cognition approach emphasizes the importance of action and clearly disregards the concept of representation. In particular, the enactive approach focuses on motor procedures that allow the body to interact with the environment, whereas the sensorimotor approach focuses on the possession and exercise of sensorimotor knowledge about how the sensory input changes as a function of movement. In this review, the embodied approaches are presented and critically discussed. Then, in an attempt to show that the format of mental imagery varies according to the ability and the strategy used to represent information, the role of individual differences in imagery ability (e.g., vividness and expertise) and imagery strategy (e.g., object vs. spatial imagers) is reviewed. Since vividness is mainly associated with perceptual information, reflecting the activation level of specific imagery systems, whereas the preferred strategy used is mainly associated with perceptual (e.g., object imagery) or amodal and motor information (e.g., spatial imagery), the format of mental imagery appears to be based on dynamic embodied representations, depending on imagery abilities and imagery strategies.

Trust the Process: A New Scientific Outlook on Psychodramatic Spontaneity Training

Human mind is hypothesis-driven and our observations of the world are strongly shaped by preconceptions. This "top-down" principle is biologically driven and contraindicative to spontaneity, which is non-linear, condensed, and initially incomprehensible. My first argument is that spontaneity entails "bottom up" information processing, as articulated in the hierarchical neurocognitive model of perception. My second argument is that changing the balance between these two processes is important and feasible. Insights from psychodynamic transference and savant syndrome are presented to support these ideas. Uniting these contemporary notions with some essentials of J. L. Moreno's philosophy is my third goal. By violating predictions and expectations, psychodrama interferes with top-down "conserved" processing and cultivates here and now, stimulus-dependent spontaneous acts. Further evidence is presented in support of the claim that adult spontaneity leads to enhanced cognition and creativity through imitating the child's brain, as Moreno envisioned. Because spontaneity is formed before having the evidence for its truth or adequacy, it entails, in adults, overcoming apprehensions about acting without a theory in mind. This is what trusting-the-process means and it requires training, which psychodrama fosters on its stage laboratory.

The extended evolutionary synthesis and addiction: the price we pay for adaptability

Humans are more likely to become addicted and to stay addicted than are other animals. This chapter is a neurobiological and molecular review of addiction and the cooccurring traits and psychiatric disorders from the perspective of the Extended Evolutionary Synthesis (EES). Addiction is an example of pleiotropy as many common haplotypes that are associated with individual differences in vulnerability to substance dependence express a variety of important brain-based phenotypes such as neuroadaptive processes. The neurochemical mechanisms of addiction are shared with behavioral flexibility and the ability to innovate, which are hallmark features of our species. The dopaminergic system provides a link between addiction and the cooccurring traits and psychiatric disorders evident in the shared genetic profile. A hypofunctioning dopaminergic system is also a common characteristic feature of addiction and the cooccurring traits and psychiatric disorders. Epigenetics allows for environmental factors to create lasting and heritable phenotypic changes enabling rapid adaptation to an environment. Addiction "high-jacks" this system as well as the neurochemical mechanisms that control flexibility and innovation and is, thus, the price we pay for adaptability.

Mitochondrial dysfunction in Autism Spectrum Disorder: clinical features and perspectives

Autism Spectrum Disorder (ASD) is a prototypic pervasive developmental disorder characterized by social interaction, and communication deficits, repetitive, stereotypic patterns of behavior, and impairments in language and development. Clinical studies have identified mitochondrial disturbances at the levels of DNA, activity, complexes, oxidative stress, and metabolites in blood and urine of ASD patients. However, these observations from postmortem brains or peripheral tissues do not provide a direct link between autism and mitochondria. The synaptic abnormality of autistic patients has not been investigated yet. Here we review the findings of clinical studies investigating mitochondrial involvement in ASD patients, focusing particularly on the brain and the limitations and future directions needed in order to fully understand the role of mitochondria in ASD pathology.

Universal Connection through Art: Role of Mirror Neurons in Art Production and Reception

Art is defined as expression or application of human creative skill and imagination producing works to be appreciated primarily for their aesthetic value or emotional power. This definition encompasses two very important elements-the creation and reception of art-and by doing so it establishes a link, a dialogue between the artist and spectator. From the evolutionary biological perspective, activities need to have an immediate or remote effect on the population through improving survival, gene selection, and environmental adjustment, and this includes art. It may serve as a universal means of communication bypassing time, cultural, ethnic, and social differences. The neurological mechanisms of both art production and appreciation are researched by neuroscientists and discussed both in terms of healthy brain biology and complex neuronal networking perspectives. In this paper, we describe folk art and the issue of symbolic archetypes in psychoanalytic thought as well as offer neuronal mechanisms for art by emphasizing mirror/neurons and the role they play in it.

High transition frequencies of dynamic functional connectivity states in the creative brain

Creativity is thought to require the flexible reconfiguration of multiple brain regions that interact in transient and complex communication patterns. In contrast to prior emphases on searching for specific regions or networks associated with creative performance, we focused on exploring the association between the reconfiguration of dynamic functional connectivity states and creative ability. We hypothesized that a high frequency of dynamic functional connectivity state transitions will be associated with creative ability. To test this hypothesis, we recruited a high-creative group (HCG) and a low-creative group (LCG) of participants and collected resting-state fMRI (R-fMRI) data and Torrance Tests of Creative Thinking (TTCT) scores from each participant. By combining an independent component analysis with a dynamic network analysis approach, we discovered the HCG had more frequent transitions between dynamic functional connectivity (dFC) states than the LCG. Moreover, a confirmatory analysis using multiplication of temporal derivatives also indicated that there were more frequent dFC state transitions in the HCG. Taken together, these results provided empirical evidence for a linkage between the flexible reconfiguration of dynamic functional connectivity states and creative ability. These findings have the potential to provide new insights into the neural basis of creativity.

Neuropsychology of Aesthetic Judgment of Ambiguous and Non-Ambiguous Artworks

Several affective and cognitive processes have been found to be pivotal in affecting aesthetic experience of artworks and both neuropsychological as well as psychiatric symptoms have been found to affect artistic production. However, there is a paucity of studies directly investigating effects of brain lesions on aesthetic judgment. Here, we assessed the effects of unilateral brain damage on aesthetic judgment of artworks showing part/whole ambiguity. We asked 19 unilaterally brain-damaged patients (10 left and 9 right brain damaged patients, respectively LBDP and RBDP) and 20 age- and education-matched healthy individuals (controls, C) to rate 10 Arcimboldo's ambiguous portraits (AP), 10 realistic Renaissance portraits (RP), 10 still life paintings (SL), and 10 Arcimboldo's modified portraits where only objects/parts are detectable (AO). They were also administered a Navon task, a facial recognition test, and evaluated on visuo-perceptual and visuo-constructional abilities. Patients included in the study did not show any deficits that could affect the capability to explore and enjoy artworks. SL and RP was not affected by brain damage regardless of its laterality. On the other hand, we found that RBDP liked AP more than the C participants. Furthermore, we found a positive correlation between aesthetic judgment of AP and visuo-perceptual skills even if the single case analyses failed to find a systematic association between neuropsychological deficits and aesthetic judgment of AP. On the whole, the present data suggest that a right hemisphere lesion may affect aesthetic judgment of ambiguous artworks, even in the absence of exploration or constructional deficits.

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.

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.

Combining universal beauty and cultural context in a unifying model of visual aesthetic experience

In this work, I propose a model of visual aesthetic experience that combines formalist and contextual aspects of aesthetics. The model distinguishes between two modes of processing. First, perceptual processing is based on the intrinsic form of an artwork, which may or may not be beautiful. If it is beautiful, a beauty-responsive mechanism is activated in the brain. This bottom-up mechanism is universal amongst humans; it is widespread in the visual brain and responsive across visual modalities. Second, cognitive processing is based on contextual information, such as the depicted content, the intentions of the artist or the circumstances of the presentation of the artwork. Cognitive processing is partially top-down and varies between individuals according to their cultural experience. Processing in the two channels is parallel and largely independent. In the general case, an aesthetic experience is induced if processing in both channels is favorable, i.e., if there is resonance in the perceptual processing channel ("aesthetics of perception"), and successful mastering in the cognitive processing channel ("aesthetics of cognition"). I speculate that this combinatorial mechanism has evolved to mediate social bonding between members of a (cultural) group of people. Primary emotions can be elicited via both channels and modulate the degree of the aesthetic experience. Two special cases are discussed. First, in a subset of (post-)modern art, beauty no longer plays a prominent role. Second, in some forms of abstract art, beautiful form can be enjoyed with minimal cognitive processing. The model is applied to examples of Western art. Finally, implications of the model are discussed. In summary, the proposed model resolves the seeming contradiction between formalist perceptual approaches to aesthetic experience, which are based on the intrinsic beauty of artworks, and contextual approaches, which account for highly individual and culturally dependent aspects of aesthetics.

Superior pattern processing is the essence of the evolved human brain

Humans have long pondered the nature of their mind/brain and, particularly why its capacities for reasoning, communication and abstract thought are far superior to other species, including closely related anthropoids. This article considers superior pattern processing (SPP) as the fundamental basis of most, if not all, unique features of the human brain including intelligence, language, imagination, invention, and the belief in imaginary entities such as ghosts and gods. SPP involves the electrochemical, neuronal network-based, encoding, integration, and transfer to other individuals of perceived or mentally-fabricated patterns. During human evolution, pattern processing capabilities became increasingly sophisticated as the result of expansion of the cerebral cortex, particularly the prefrontal cortex and regions involved in processing of images. Specific patterns, real or imagined, are reinforced by emotional experiences, indoctrination and even psychedelic drugs. Impaired or dysregulated SPP is fundamental to cognitive and psychiatric disorders. A broader understanding of SPP mechanisms, and their roles in normal and abnormal function of the human brain, may enable the development of interventions that reduce irrational decisions and destructive behaviors.