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Neuroscience of Creativity
Neuroscience of Creativity

edited by Oshin Vartanian, Adam S. Bristol, and James C. Kaufman

The MIT Press

Cambridge, Massachusetts
London, England
© 2013 Massachusetts Institute of Technology

All rights reserved. No part of this book may be reproduced in any form by any
electronic or mechanical means (including photocopying, recording, or information
storage and retrieval) without permission in writing from the publisher.

MIT Press books may be purchased at special quantity discounts for business or sales
promotional use. For information, please email special_sales@mitpress.mit.edu or
write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge,
MA 02142.

This book was set in Stone Sans and Stone Serif by Toppan Best-set Premedia Limited,
Hong Kong. Printed and bound in the United States of America.

Library of Congress Cataloging-in-Publication Data

Neuroscience of creativity / edited by Oshin Vartanian, Adam S. Bristol, and

James C. Kaufman.
pages cm
Includes bibliographical references and index.
ISBN 978-0-262-01958-3 (hardcover : alk. paper)
1. Creative ability. 2. Cognitive neuroscience. I. Vartanian, Oshin, 1970–.
II. Bristol, Adam S., 1975–.
BF408.N5196 2013
153.3'5—dc23
2013004389

10 9 8 7 6 5 4 3 2 1
For Alexandra and Atam
—Oshin Vartanian

For Indre
—Adam S. Bristol

For Avi Ben Zeev,

Chosen brother.
—James C. Kaufman
Contents

Acknowledgments ix
Introduction xi
Adam S. Bristol, Oshin Vartanian, and James C. Kaufman

I Theories and Constraints 1

1 Creativity as a Neuroscientific Mystery 3

Margaret A. Boden

2 How Insight Emerges in a Distributed, Content-Addressable

Memory 19
Liane Gabora and Apara Ranjan

3 There Is Room for Conditioning in the Creative Process:

Associative Learning and the Control of Behavioral Variability 45
W. David Stahlman, Kenneth J. Leising, Dennis Garlick, and Aaron P. Blaisdell

II Genetics 69

4 The Genetics of Creativity: The Generative and Receptive Sides of

the Creativity Equation 71
Baptiste Barbot, Mei Tan, and Elena L. Grigorenko

5 Creativity and Talent: Etiology of Familial Clustering 95

Marleen H. M. de Moor, Mark Patrick Roeling, and Dorret I. Boomsma

III Neuropsychology 113

6 Art and Dementia: How Degeneration of Some Brain Regions Can
Lead to New Creative Impulses 115
Indre V. Viskontas and Bruce L. Miller

7 Biological and Neuronal Underpinnings of Creativity in the Arts 133

Dahlia W. Zaidel
viii Contents

IV Pharmacology and Psychopathology 149

8 Pharmacological Effects on Creativity 151

David Q. Beversdorf

9 Creativity and Psychopathology: Shared Neurocognitive

Vulnerabilities 175
Shelley Carson

V Neuroimaging 205

10 The Creative Brain: Brain Correlates Underlying the Generation

of Original Ideas 207
Andreas Fink and Mathias Benedek

11 Creativity and Intelligence: Brain Networks That Link and

Differentiate the Expression of Genius 233
Rex E. Jung and Richard J. Haier

VI Aesthetic and Creative Products 255

12 Fostering Creativity: Insights from Neuroscience 257

Oshin Vartanian

13 The Means to Art’s End: Styles, Creative Devices, and

the Challenge of Art 273
Pablo P. L. Tinio and Helmut Leder

Contributors 299
Index 301
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Acknowledgments

The authors would like to thank Katie Persons, Judith Feldmann, and Phil
Laughlin of the MIT Press for making this process so smooth and simple.
Oshin’s work on cognitive training is partly supported by an Applied
Research Project funded by Canada’s Department of National Defence.
Adam would like to thank Marc Schneidman for his mentorship and
for his encouragement of intellectual curiosity among his coworkers. He
would also like to thank Indre Viskontas for her unwavering support and
guidance.
James would like to thank the people at CSUSB who make his work
possible—including (former) President Al Karnig, Provost Andrew Bodman,
Dean Jamal Nassar, Chair Robert Ricco, (former) Chair Robert Cramer,
Mark Agars, Stacy Brooks, Stephanie Loera, Amanda Ferguson, and the
Kaufman Inner Lab Leaders. And, always, Allison.
Introduction

Adam S. Bristol, Oshin Vartanian, and James C. Kaufman

Yet the suns that light the corridors of the universe,

shine dim before the blazing of a single thought.

So proclaims the intrepid Dr. Duval in the 1966 sci-fi film Fantastic Voyage,
in which a group of scientists miniaturize themselves and enter the brain
of a dying patient in search of a cure. What they find is a magical world
of unanticipated complexity in an organ that continues to astound its
master and servant—animals and man. Of course, modern science’s con-
tinued effort to understand the neurobiological bases of creativity is its
own fantastic voyage, and although we cannot yet insert ourselves into
the brains of creative people, technical advances in the neurosciences have
begun to reveal the workings of the brain in tremendous detail. With new
tools and theories, researchers have generated a body of neuroscientific
research and theorizing to complement the nearly one hundred years of
sociocultural, cognitive, developmental, educational, and historiometric
perspectives on creative processes.
The purpose of this book is to bring together leading researchers from
around the world to provide an up-to-date review of empirical and theo-
retical approaches to the neurobiological bases of creativity. Our hope is
that active creativity researchers will find this volume to be a valuable
summation of current theoretic and empirical approaches, from which
new ideas will be born to inform interdisciplinary perspectives. Our hope
is also to inspire advanced students and researchers in adjacent fields for
whom creativity is a potential area of focus, and to consider contributing
to the advances in creativity research. Indeed, we purposely sought con-
tributions from several scientists who would not call themselves “creativity
researchers” per se, but whose research we felt was highly relevant to
understanding the neural bases of creativity. The chapters should certainly
be engaging for the intelligent and curious lay reader as well.
xii A. S. Bristol, O. Vartanian, and J. C. Kaufman

It would appear that a book on the neuroscience of creativity requires

a definition of creativity. However, enforcing a single definition of cre-
ativity on the chapters would reflect a rather unnatural representation
of the state of affairs in this field, represented as it is by a multitude of
context-dependent and domain-specific definitions of what constitutes
creativity. Of course, there are some general definitions of creativity that
almost everyone in the field agrees on, such as viewing creativity as the
generation of novel and useful products within a specific context (e.g., Kaufman,
2009; Plucker, Beghetto, & Dow, 2004; Simonton, 2012). We have opted
to congregate around this general definition, thereby letting individual
researchers define what creativity means in the context of their specific
chapters. We believe that this approach more accurately reflects the context-
and domain-specific nature of creativity and its neural correlates (Varta-
nian, 2012).
The book is organized into six sections, which roughly correspond to
a progression of theoretical, genetic, structural, clinical, functional, and
applied approaches. Admittedly, this is a rather unsatisfactory description
of the book’s organization as many of the chapters span multiple levels of
analysis, which is a testament to the authors and to the demands of
addressing the complexities of creativity from a neurobiological perspec-
tive. But in general, the chapters progress from the more fundamental
levels of genetics and neurophysiology to systems neuroscience and neu-
roimaging, with important “book ends” that provide theoretical frame-
works and synthesis.
The first section of the book, entitled “Theories and Constraints,” con-
tains three chapters that provide a context for later discussions. The book
begins with a contribution from Margaret A. Boden, who outlines the
possibilities and limitations of a neuroscientific approach to the study of
creativity. Critically, she notes the distinction between exploratory creativ-
ity, transformational creativity, and combinatorial creativity, and high-
lights the fact that experimental analyses to date have largely concerned
themselves with the latter. Her contention is that an understanding of the
neurocognitive basis of semantic hierarchies and of knowledge relevance
remains elusive, yet is central to creative processes. In chapter 2, Liane
Gabora and Apara Ranjan describe a neurally inspired model of creativity
that hinges on aspects of memory encoding and retrieval, specifically the
reconstructive nature of memory and the novel by-products resulting from
contingent activation of subsets of cell assemblies they call “neurds.”
Finally, W. David Stahlman, Kenneth J. Leising, Dennis Garlick, and Aaron
P. Blaisdell, animal behavior experts, draw on fundamental principles of
Introduction xiii

conditioning and associative learning to provide a stimulating overview

of what could be viewed as rudimentary creativity in the form of novel
and unexplained behavior of animals. Indeed, it appears that there is much
to learn about the production of novel behavior from examining nonhu-
man animals.
The second and third sections of the book, “Genetics” and “Neuropsy-
chology,” respectively, contain chapters that explore these areas from mul-
tiple perspectives. Chapter 4, by Baptiste Barbot, Mei Tan, and Elena L.
Grigorenko, updates the reader on the issue of heritability of creativity and
the interaction of genes and environment in shaping creative processes,
with a specific focus on the genetic bases underlying the reception of cre-
ative products. In chapter 5, Marleen H. M. de Moor, Mark Patrick Roeling,
and Dorret I. Boomsma use data from the well-known Netherlands Twin
Registry to examine the pattern and degree of talent among parents and
their children across multiple artistic and technical domains. Chapter 6,
by Indre V. Viskontas and Bruce L. Miller, and chapter 7, by Dahlia W.
Zaidel, describe fascinating windows into the brain basis of creativity:
neurological findings of altered or, in some cases, emergent artistic talent
in brain-damaged patients and patients afflicted with neurodegenerative
conditions. Both chapters emphasize the importance of triangulating
across multiple approaches for understanding the emergence and altera-
tion of artistic (and aesthetic) abilities.
Next, the book moves to a section entitled “Pharmacology and Psycho-
pathology,” discussing areas that have benefited from the continued devel-
opment of new tools and techniques for interrogating the brain. David Q.
Beversdorf reviews work from his lab and others in chapter 8, providing
insights into the involvement of multiple neurotransmitter systems in
cognition and creative processes. In chapter 9, Shelley Carson provides a
review of the association between creativity and mental health, digging
deeper into the specific traits and neural mechanisms to account for their
shared vulnerabilities and nuanced relationship. Both chapters provide
integral information for clinical interventions for creativity.
Neuroimaging, the topic of the book’s fifth section, has afforded research-
ers an extraordinary view into the workings of the human brain in health
and disease, and creativity researchers have taken advantage of such tools.
In chapter 10, Andreas Fink and Mathias Benedek examine EEG and func-
tional MRI studies of intelligence and creativity, asking to what extent they
and their associated neural networks are modifiable by training or influ-
enced by individual differences. In chapter 11, Rex E. Jung and Richard J.
Haier provide an integration of many neuroimaging and neuroanatomical
xiv A. S. Bristol, O. Vartanian, and J. C. Kaufman

studies to propose a new model of neural network functioning across brain

regions in which creative processes are dissociable from general intelli-
gence. Both chapters reinforce the importance of continued research into
understanding the dissociable and shared neural pathways for intelligence
and creativity.
A final section entitled “Aesthetic and Creative Products” focuses on a
critical but often overlooked applied aspect of the neurobiological bases of
creativity. Chapter 12, by Oshin Vartanian, discusses the use of neurosci-
entific data as part of the toolkit to enhance creativity within a compo-
nential approach. Finally, chapter 13, by Pablo P. L. Tinio and Helmut
Leder, steps outside the brain to focus on the nature of art, primarily visual
art, and the unique information processing challenges that it poses to the
viewer. A thorough examination of this domain, they argue, is a prerequi-
site to a meaningful exploration of “neuroaesthetics”—a field wherein the
generation and appreciation of creative products come full circle.
As we began to receive contributions and the book’s contents material-
ized, we recognized familiar concepts, but also clear illustrations of how
the field is progressing. In the end, the book contained not even one refer-
ence to the well-trodden Helmholtz model of creative thinking (Helm-
holtz, 1896, as cited in Wallas, 1926), a depiction of creativity that has
inspired hundreds, if not thousands, of spirited discussions and research
projects. If the final volume has the impact we anticipate, many new ideas
and experiments will be generated from new data and new models of
creative processes inspired by it. We hope that creativity researchers, neu-
roscientists, and scholars in general will find much to ponder in the pages
to come.
We would like to thank all of the contributing authors for their thought-
ful and timely contributions. We hope you enjoy the book.

ASB, OV, and JCK

September 2012

References

Helmholtz, H. von (1896). Vortage und Reden. Brunswick: Friedrich Viewig.

Kaufman, J. C. (2009). Creativity 101. New York: Springer.

Plucker, J., Beghetto, R. A., & Dow, G. (2004). Why isn’t creativity more important
to educational psychologists? Potential, pitfalls, and future directions in creativity
research. Educational Psychologist, 39, 83–96.
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