THE ROLE OF NEURO LINGUISTICS IN CREATIVE WRITING SHORT STORIES THROUGH AN INTERDISCIPLINARY APPROACH

This study aims to explore the role of neurolinguistics in writing creative short stories for students through an interdisciplinary approach. neurolinguistics is a field of study consisting of linguistics and medicine which studies the relationship between language and the human brain which is linked to cognitive neuroscience and sensory and cellular movement. The method used in this research is literature review or literature review. There are four stages or four phases in conducting this research (1) designing a review, (2) conducting a review, (3) analyzing and (4) writing a review. In neurolinguistics, the parts of the human brain are also studied. The brain has 3 main parts, namely the cerebrum (cerebrum), cerebellum (cerebellum), and brainstem (brainstem). There are six factors that must be considered in creative writing, namely general knowledge and cognition, creative cognition, process, motivation and conative, linguistics and literacy, and psychomotor. There are also four-pillar factors of neurolinguistics, namely outcome, rapport, sensory acuity, and flexibility. Neurolinguistics also studies the structure and parts of the human brain, including the cerebrum (large brain), cerebellum (cerebellum), brainstem (brain stem) and limbic system (limbic system). The part that is closely related to writing is the cerebellum (cerebellum).

Naturalist Methods in the Sociology of Creation: The Case Against Reductionism

The Sociology of Culture has much to say when it comes to the ever-changing general consensus on what constitutes legitimate culture and definitions of creativity. The naturalistic studieson cognition in social and cognitive sciences show this empirically (Bourdieu, 1979: Becker, 1982, 2002; Sennett, 2012; Author, 2014). Creative cognition is part of an institutional context. However, the influential culturalist branch of cognitive sociology (CCS) reduces creativity toa cognitivist psychological level (Lizardo and Strand, 2010). We start from the conjecture that the Sociology of Culture can draw on the naturalistic paradigm of cognition to explain creativity without falling into reductionist or atomist positions. The authors take the diversityof theoretical-empirical proposals into account in identifying the starting points for focusing the debate at both the macro and micro levels. The body of the article comprises a literature review which, while not exhaustive, offers a full picture of the pragmatic and integrated models of creativity. The studies analysed present inter-subjective processes of creationand the transmission of variable legitimate criteria concerning cultural consumption such as categorisations, evaluations and aesthetic judgments. The sociological perspective offers scope for strengthening critical tools for examining creativity.

Creativity in an Affective Context

Everyday life often requires considerable creativity in dealing with challenging circumstances. This implies that creativity regularly operates in an affective context, however, this “C” of creativity is rarely addressed in contemporary research. In this brief review article, we address some important milestones in this nascent field of research. Starting with early accounts on emotional creativity, we discuss seminal research intertwining creativity and mood states, and finally introduce two recent developments in this field: reappraisal inventiveness as the capacity to generate manifold cognitive reappraisals for aversive situations, and malevolent creativity as creative ideation intentionally used to damage others. We discuss the conceptual origins of reappraisal inventiveness and malevolent creativity and provide an extensive review of past behavioral and neuroscientific findings regarding these differently motivated instances of affective creativity. Additionally, novel pilot findings and prospects on both lines of research will be provided, which may help to advance investigations into more real-world applications of creative cognition.

Exploring the role of schizotypy in creative cognition

<p>Creativity is hugely important in our everyday lives. Understanding what makes some people more creative than others is not just important in traditional creative fields. Creative problem solving is the key to solving all significant challenges we face as a society, including but not limited to technological, political and environmental challenges. Mental illness, in both popular culture and in psychological science, have long been linked to creative thought. Many eminent creatives, both past and current, attribute their success to their mental illness. For example, in schizophrenia, the grandiose thinking and florid hallucinations that characterise this disorder may be supportive of creative thinking. However, schizophrenia is characterised by severe cognitive deficits that, according to models of creativity, would be disadvantageous to creative thinking. Schizotypy is a personality trait that is characterised by some features of schizophrenia (unusual thinking, poor interpersonal communication), but is not accompanied by the same severe cognitive deficits seen in schizophrenia. Based on this view, it is reasonable to assume that people high on schizotypal traits may be more creative than those who are low on schizotypal traits. While there a number of studies examining this relationship, findings are inconsistent, with effect sizes ranging from -.42 to .8. In my thesis, I explored a) whether there was a relationship between schizotypy and creativity and b) whether that relationship could be explained by underlying differences in cognitive processing (associative processing and executive control). I predicted that positive schizotypy in particular (typified by unusual thinking, superstitious beliefs) would be positively correlated with schizotypy in three different measures of creativity (two performance based tasks and one self-report measure) in two different samples of participants. In Chapters 3 + 4, I tested the relationship between schizotypy and creativity using two different methods. In chapter 3, I found no evidence for the predicted effect. In fact, I found a negative association between positive schizotypy and scores on one measure of creativity (the Remote Associates test) and a positive association between negative schizotypy (characterised by interpersonal deficits) and performance on the RAT. These effects did not replicate in the second sample. Finally, there was a positive association between disorganised schizotypy and creativity on the Alternate Uses task. The results of Chapter 4, using a latent profile analytic approach, mirrored the results of Chapter 3. Finally, Chapter 5 found no support for any relationship being mediated by associative processing or executive control; however, there was partial support for two models of creativity. Overall, evidence suggests that schizotypal traits are not helpful for creativity. These results shed light on some of the challenges when conducting research regarding both schizotypy and creativity.</p>

Exploring the role of schizotypy in creative cognition

<p>Creativity is hugely important in our everyday lives. Understanding what makes some people more creative than others is not just important in traditional creative fields. Creative problem solving is the key to solving all significant challenges we face as a society, including but not limited to technological, political and environmental challenges. Mental illness, in both popular culture and in psychological science, have long been linked to creative thought. Many eminent creatives, both past and current, attribute their success to their mental illness. For example, in schizophrenia, the grandiose thinking and florid hallucinations that characterise this disorder may be supportive of creative thinking. However, schizophrenia is characterised by severe cognitive deficits that, according to models of creativity, would be disadvantageous to creative thinking. Schizotypy is a personality trait that is characterised by some features of schizophrenia (unusual thinking, poor interpersonal communication), but is not accompanied by the same severe cognitive deficits seen in schizophrenia. Based on this view, it is reasonable to assume that people high on schizotypal traits may be more creative than those who are low on schizotypal traits. While there a number of studies examining this relationship, findings are inconsistent, with effect sizes ranging from -.42 to .8. In my thesis, I explored a) whether there was a relationship between schizotypy and creativity and b) whether that relationship could be explained by underlying differences in cognitive processing (associative processing and executive control). I predicted that positive schizotypy in particular (typified by unusual thinking, superstitious beliefs) would be positively correlated with schizotypy in three different measures of creativity (two performance based tasks and one self-report measure) in two different samples of participants. In Chapters 3 + 4, I tested the relationship between schizotypy and creativity using two different methods. In chapter 3, I found no evidence for the predicted effect. In fact, I found a negative association between positive schizotypy and scores on one measure of creativity (the Remote Associates test) and a positive association between negative schizotypy (characterised by interpersonal deficits) and performance on the RAT. These effects did not replicate in the second sample. Finally, there was a positive association between disorganised schizotypy and creativity on the Alternate Uses task. The results of Chapter 4, using a latent profile analytic approach, mirrored the results of Chapter 3. Finally, Chapter 5 found no support for any relationship being mediated by associative processing or executive control; however, there was partial support for two models of creativity. Overall, evidence suggests that schizotypal traits are not helpful for creativity. These results shed light on some of the challenges when conducting research regarding both schizotypy and creativity.</p>

Sex influences the brain functional connectivity correlates of originality

Creative cognition is thought to involve two processes, the creation of new ideas and the selection and retention of suitable new ideas. Neuroimaging studies suggest that the Default Mode Network contributes to the creation of new ideas while left inferior frontal and parieto-temporal cortical networks mediate the selection/retention process. Higher levels of activity in the selection/retention have been shown to be associated with stricter criteria for selection and hence the expression of fewer novel ideas. In this study, we examined the brain functional connectivity correlates of an originality score while 27 males and 27 females performed a low and a high demand visual vigilance task. Brain functional connectivity was estimated from the steady state visual evoked potential event related partial coherence. In the male group, we observed a hypothesized left frontal functional connectivity that was negatively correlated with originality in both tasks. By contrast, in the female group no significant correlation between functional connectivity and originality was observed in either task. We interpret the findings to suggest that males and females engaged different functional networks when performing the vigilance tasks. We conclude with a consideration of the possible risks when data pooling across sex in studies of higher cortical function.

Mind wandering and musical creativity in jazz improvisation

Mind wandering is a prevalent and ubiquitous phenomenon. Several studies suggest that mind wandering benefits creativity if it occurs in the incubation period of a creative problem-solving task. However, it could be impairing real-time expression of creative behavior if it occurs during the course of a creative task. This dissociation between incubation and performance suggests that mind wandering poses a double-edged sword to creative cognition. Jazz improvisation provides an ecologically useful framework for studying the effects of mind wandering on creativity. Here we hypothesized that mind wandering during a musical improvisation task would be associated with higher levels of musical creativity, compared with on-task attention. Nine experienced musicians performed several jazz improvisation tasks interleaved with the presentation of random thought probes. The results showed that musical improvisation during unintentional mind wandering was associated with higher musical creativity when compared with improvisation during on-task attention. However, mind wandering did not impact overall improvisational quality. Altogether, these data suggest that the positive relationship between mind wandering and creativity also extends to artistic performance domains.

Brain connectivity-based prediction of real-life creativity is mediated by semantic memory structure

Creative cognition relies on the ability to form remote associations between concepts, which allows to generate novel ideas or solve new problems. Such an ability is related to the organisation of semantic memory; yet whether real-life creative behaviour relies on semantic memory organisation and its neural substrates remains unclear. Therefore, this study explored associations between brain functional connectivity patterns, network properties of individual semantic memory, and real-life creativity. We acquired multi-echo functional MRI data while participants underwent a semantic relatedness judgment task. These ratings were used to estimate their individual semantic memory networks, whose properties significantly predicted their real-life creativity. Using a connectome-based predictive modelling approach, we identified patterns of task-based functional connectivity that predicted creativity-related semantic memory network properties. Furthermore, these properties mediated the relationship between functional connectivity and real-life creativity. These results provide new insights into how brain connectivity supports the associative mechanisms of creativity.

The Mechanics of Creative Cognition: Orchestrating the Productive Interplay of Procedural and Conceptual Knowledge in STEM Education

As a reaction to the growing economical, ecological and societal demands on education innumerous efforts and programs have been initiated throughout the educational chain to improve the quality of teaching and learning in the STEM field. On that background we sketch a framework to foster creative engagement in learning to promote scientific inquiry and modeling processes. In the theoretical part the article presents a dualistic perspective on the grounding of creative cognition in concrete experience, highlighting the productive and reflexive interplay of procedural and conceptual knowing. Their entanglement is pivotal to successful knowledge construction and application in science and technology. The ‘mechanics’ of creativity is elaborated exemplarily in a project based learning sequence that starts from investigating and modeling elastic forces as a basic paradigm of creative model construction. The creative part refers to conceptual expansions of the elastic spring model that assist in modeling emergent mechanical properties in hard and soft condensed matter. With additional moderate instructional input this knowledge is productive in creating basic models of the self-organized dynamics of biomolecular systems that orchestrate life at the cellular level. The sequence demonstrates how the interplay of hands-on experience and conceptual modeling can promote near and far transfer.