Visual artistic creativity and the brain

Heilman, Kenneth M.; Acosta, Lealani Mae Y.

doi:10.1016/b978-0-444-63287-6.00002-6

Cited by 17 publications

(8 citation statements)

References 95 publications

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“…However, recent functional neuroimaging evidence based on non-artistic behavior in healthy volunteers points to greater left hemisphere involvement in creativity (Gonen-Yaacovi et al, 2013). Where do the original ideas in the artwork arise, is a complex question that researchers would like understand (Dietrich and Kanso, 2010; Heilman and Acosta, 2013; Jung and Haier, 2013). The likely answer with regards to the cerebral hemispheres is that both are functional in exceptional creativity, but with each hemisphere contributing a different facet, yet little understood, to the creativity process (Zaidel, 2013d).…”

Section: Neurological Underpinning: I Observations Of Brain-damage Imentioning

confidence: 99%

“…Interpretations have attributed the artistic behavior itself to (1) diminished inhibition of expression due to degeneration of neural pathways that normally exert inhibitory control over the cortex, i.e., frontal lobe fiber tracts running between the prefrontal cortex and the temporal lobes; and (2) neural degeneration in the left hemisphere “loosens control” over the right hemisphere, when the degenerative process originates in the left hemisphere. These interpretations assign critical roles in artistic creativity to the prefrontal cortex (e.g., Miller and Miller, 2013; Viskontas and Miller, 2013) as well as to the right hemisphere in the healthy brain (Drago et al, 2006; Heilman and Acosta, 2013). Alternative interpretations include (1) existence of life-long latent (dormant) artistic talent; (2) loss of normal language communication abilities (Zaidel, 2005).…”

Section: Neurological Underpinning: II Evidence From Dementia and Dimentioning

confidence: 99%

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Creativity, brain, and art: biological and neurological considerations

Zaidel

2014

Front. Hum. Neurosci.

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Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals.

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Section: Neurological Underpinning: I Observations Of Brain-damage Imentioning

confidence: 99%

Section: Neurological Underpinning: II Evidence From Dementia and Dimentioning

confidence: 99%

Creativity, brain, and art: biological and neurological considerations

Zaidel

2014

Front. Hum. Neurosci.

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“…Sirva de ejemplo que la capacidad de los sujetos holodisnómicos para atender el aspecto global de las figuras se correlaciona con la activación de la corteza temporo-occipital del hemisferio derecho (Fink et al, 1996). Elementos críticos de la creatividad artística visual como la atención global y el pensamiento viso-espacial observados en individuos holodisnómicos están mediados por el lóbulo parietal derecho (Heilman & Acosta, 2013). De forma similar, se ha propuesto que los lóbulos frontales en individuos holodisnómicos podrían ser críticos para el pensamiento divergente (Heilman & Acosta, 2013), y que el hemisferio derecho modula su capacidad de producción artística, así como la atención global (Cohn & Neumann, 1997).…”

Section: "Cerebro Holodisnómico": Expresión Alternativa De Neurodiversidadunclassified

La Dislexia Como Manifestación De Neurodiversidad

Rodríguez

Alejandra

2021

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La habilidad lectora está representada por una curva de distribución normal en la que el fenotipo denominado disléxico constituye aproximadamente el 17%. Esta distribución y frecuencia hacen de este fenotipo una expresión alternativa de la normalidad lectora en el ser humano. En este trabajo se propone un modelo que mira a la dislexia como una manifestación de neurodiversidad, superando las ideas que la presumen como una neuropatología. En él se sugiere que las variantes disléxicas son alternativas fenotípicas que permiten a los individuos desarrollar habilidades cognitivas novedosas y adaptativas. Para este fin, se analizó el marco conceptual y experimental de 143 artículos científicos obtenidos de las bases de datos ScienceDirect, NCBI y PubMed, seleccionados bajo los términos de búsqueda “dislexia” y “lectura”, relacionados con su neurobiología, diagnóstico, características y neurodiversidad. La inclusión adicional de datos neurofisiológicos y neuroanatómicos, representados por modelos a lo largo del trabajo, permitió ilustrar la diversidad de las organizaciones cerebrales que ratifican la idea de que los “cerebros disléxicos” no representan un rasgo fenotípico inadaptado, sino más bien un arreglo de organizaciones cerebrales que proporcionan posibilidades cognitivas diversas. En consecuencia, se construyó un modelo neurobiológico teórico para lectura y dislexia que procura predecir las múltiples posibilidades de procesamiento de la información para ambos fenotipos. Esta teorización condujo a proponer un nuevo concepto para referirse a las variantes “disléxicas” del fenotipo humano, la holodisnomia, término que aspira a sustituir el término dislexia y que atiende a la capacidad de los individuos que lo exhiben de procesar la información de manera global (holo-), así como desarrollar una estructura de pensamiento que diverge positivamente de la norma (-disnomia).

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“…Some educators and psychologists may hope that new perspectives from the field of neuroscience will resolve part of the dilemma about the nature of creativity. For example, neuroscientists Heilman and Acosta () define creativity in an intriguing way as the ability to find or express unity in seeming diversity. Even in this article, however, a lack of understanding of the role of the arts in culture persists, as revealed by comments such as this, which opens the article: “Whereas the arts….can clearly be creative, artistic works have no utility, except for the pleasure it [sic] brings to the artists and viewers.…”

Section: Design Education and Conceptions Of Creativitymentioning

confidence: 99%

Differences between Art and Design Education-or Differences in Conceptions of Creativity?

Zwirn

Zande

2015

J Creat Behav

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The principles and techniques of design education have begun to influence art education in the United States, but their effect so far has been modest, primarily because of a gaping divide in beliefs about creativity and how to stimulate it. With K-12 art education on the chopping block of a culture awash with budget cuts and testing fever, this is a particularly a significant time to examine these disparate conceptions. The argument here is that the division that exists today between pre-K-12 art education and design education in the United States is not justified and ignores historical perspective. After describing and comparing the two approaches, we examine how conceptions of creativity in the visual arts may have led to this artificial separation of similar disciplines. Because educators in many countries grapple with defining and implementing creative art education curricula, this article will consider international perspectives that offer insights for American art educators.

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Visual artistic creativity and the brain

Cited by 17 publications

References 95 publications

Creativity, brain, and art: biological and neurological considerations

Creativity, brain, and art: biological and neurological considerations

La Dislexia Como Manifestación De Neurodiversidad

Differences between Art and Design Education-or Differences in Conceptions of Creativity?

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