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The Real Neuroscience of Creativity

The Real Neuroscience of Creativity
So yea, you know how the left brain is really realistic, analytical, practical, organized, and logical, and the right brain is so darn creative, passionate, sensual, tasteful, colorful, vivid, and poetic? No. Just no. Stop it. Please. Thoughtful cognitive neuroscientists such as Anna Abraham, Mark Beeman, Adam Bristol, Kalina Christoff, Andreas Fink, Jeremy Gray, Adam Green, Rex Jung, John Kounios, Hikaru Takeuchi, Oshin Vartanian, Darya Zabelina and others are on the forefront of investigating what actually happens in the brain during the creative process. The latest findings from the real neuroscience of creativity suggest that the right brain/left brain distinction is not the right one when it comes to understanding how creativity is implemented in the brain.* Creativity does not involve a single brain region or single side of the brain. Importantly, many of these brain regions work as a team to get the job done, and many recruit structures from both the left and right side of the brain. Related:  NEUROSCIENCESCreative thinking

Les quatre piliers de l’apprentissage - Stanislas Dehaene L’enfant est doté d’intuitions profondes en matière de repérage sensoriel du nombre. Avant tout apprentissage formel de la numération, il évalue et anticipe les quantités. Apprendre à compter puis à calculer équivaudrait à tout simplement tirer parti de ces circuits préexistants, et, grâce à leur plasticité, à les recycler. L’apprentissage formel de l’arithmétique se « greffe » sur le « sens du nombre » présent chez l’enfant, et sollicite la même zone cérébrale. Le maître-mot, alors, est la plasticité cérébrale. Les circuits cérébraux : des capacités disponibles dès l’origine Les circuits cérébraux qui sous-tendent les apprentissages ne sont d’ailleurs pas si variés. L’apprentissage de la lecture active une région spécifique, mais il mobilise et active aussi d’autres zones. Différentes zones du cerveau La zone de la lecture recycle un « algorithme » préexistant, celui de la reconnaissance des visages : au scanner, on voit nettement la même zone s’activer. 1. 2. 3. 4. Stanislas Dehaene

» differences between practice-based and practice-led research Creativity & Cognition Studios Although practice-based research has become widespread, it has yet to be characterised in a way that has become agreed across the various fields of research where it is in use. To complicate matters further, the terms ‘practice-based’ and ‘practice-led’ are often used interchangeably. In fact we can distinguish between different types of research that have a central practice element and that distinction is summarised here as follows: If a creative artefact is the basis of the contribution to knowledge, the research is practice-based If the research leads primarily to new understandings about practice, it is practice-led. see Overview Practice-based Research is an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice. Practice-based doctoral submissions must include a substantial contextualisation of the creative work. Domain Differences in Practice-based and Practice-led Research

La créativité: 18 choses que les gens créatifs font différemment des autres CERVEAU - La créativité opère de manière mystérieuse et souvent paradoxale. La pensée créative est une caractéristique stable qui définit certaines personnalités, mais elle peut aussi changer en fonction du contexte. On a souvent l’impression que l’inspiration et les idées naissent de nulle part et qu’elles disparaissent au moment où on a le plus besoin d’elles. La neuroscience nous propose une image très complexe de la créativité. Lire aussi:» 7 choses que les gens calmes font différemment des autres » 10 choses que les employés productifs font différemment des autres Psychologiquement parlant, les types de personnalités créatives sont difficiles à repérer, car elles sont en général complexes, paradoxales et qu’elles ont tendance à éviter l’habitude ou la routine. S’il n’existe pas de profil créatif "typique ", on trouve cependant des caractéristiques et des comportements révélateurs chez les personnes extrêmement créatives. Ils rêvassent Selon Kaufman et la psychologue Rebecca L.

The Neuroscience Of Learning: 41 Terms Every Teacher Should Know - TeachThought The Neuroscience Of Learning: 41 Terms Every Teacher Should Know by Judy Willis M.D., M.Ed., As education continues to evolve, adding in new trends, technologies, standards, and 21st century thinking habits, there is one constant that doesn’t change. The human brain. But neuroscience isn’t exactly accessible to most educators, rarely published, and when it is, it’s often full of odd phrasing and intimidating jargon. As for the jargon, Judy Willis, teacher, neuroscientist, and consultant has put together an A-Z glossary of relevant neuroscience terms for teachers and administrators to help clarify the jargon. The best approach with a list like this is to bookmark and share the page, and comeback to it intermittently. Baby steps. 41 Neuroscience Terms Every Teacher Should Know Affective filter The affective filter an emotional state of stress in children during which they are not responsive to processing, learning, and storing new information. Amygdala Axon Brain mapping Cerebellum

The Creative Process: The Four Pillars of Creativity - January 14, 2014 by zazenlife When most of us think of creativity, we see it as an intuitive process. We describe it with phrases like the: “Aha moment” and “having a vision”, but there is much, much more to it than that. Creativity is a skill that can be learned and honed, and the main tool for implementing creativity is the creative process. The creative process is essentially the Scientific Method of creativity. PreparationIncubationIlluminationVerification Let’s take a look at these steps in more detail. Preparation This stage of the creative process involves two things: Defining a problem or question and gathering information. This brings you to the information gathering part of the preparation stage. You’ve been subconsciously gathering information to solve that problem every day that you drive to work. Incubation The next stage is Incubation. Illumination This is the actual “aha moment” of the creative process. Verification To review, the four stages of the creative process are:

How Creativity Can Make You More Resilient | meQuilibrium By Terri Trespicio What role does creativity play in your life? Do you like to make, cook, paint, write or glue things together? The more you do, the better off you may be. That's what Brene Brown, Ph.D, told the audience of nearly 4,000 at the recent How Design Live conference, where graphic designers, visual artists, and other creative professionals go for information and inspiration in their industry. "The biggest question I've gotten in my career is this," she said. "If you want to move knowledge from your head to your heart, it requires your hands," she said. This isn't just a nice-to-do -- it's critical for helping you get back up after you've fallen, she says...also known as resilience. A dear friend of mine, a musician, says he can tell when he's gone too long without making something -- he gets irritable, edgy, impatient. So, I ask you: What creative urge have you been stifling? (Find out how to make cooking at home more doable and fun.)

Tempérament et créativité <div pearltreesdevid="PTD139" role="alert" class="alert-message-container"><div pearltreesdevid="PTD140" aria-hidden="true" class="alert-message-body"><span pearltreesdevid="PTD141" style="display: inline-block;" class="Icon IconAlert"><svg pearltreesDevId="PTD142" style="width: 100%; height: 100%;" width="24" height="24" focusable="false" tabindex="-1" fill="currentColor"><path pearltreesDevId="PTD143" fill="#f80" d="M11.84 4.63c-.77.05-1.42.6-1.74 1.27-1.95 3.38-3.9 6.75-5.85 10.13-.48.83-.24 1.99.53 1.66.36 2.5.41 3.63 0 7.27.01 10.9-.01 1.13-.07 2.04-1.28 1.76-2.39-.1-.58-.56-1.02-.81-1.55-1.85-3.21-3.69-6.43-5.55-9.64-.42-.52-1.06-.83-1.74-.79z"></path><path pearltreesDevId="PTD144" d="M11 8h2v5h-2zM11 14h2v2h-2z"></path></svg></span><!-- react-text: 57 -->JavaScript is disabled on your browser. Please enable JavaScript to use all the features on this page.<!-- /react-text --></div></div> Résumé Depuis Aristote, génie, créativité et trouble mental sont intimement associés.

Four Pillars of Creativity Pt. 2 - March 27, 2014 by brettp46 For info on my first post : The Four Pillars of Creativity This comes off as a vague musing; however, it is the honest truth. The archetypal artist has the gift of being in tune with their surroundings and can find beauty and inspiration in life’s simple things. This stage is the preparation stage of the Four Pillars of Creativity. Think of it as fishing with a pole vs. fishing with a net, with fish=ideas. The point behind the metaphor is that the more ideas you have, the better they become. The skill set used to cast an idea net is simply using all The Four Pillars of Creativity, five senses to develop ideas. The better you are at casting your idea net in stage one of the creative process,the easier you will find the second stage of the creative process, which is the incubation stage.

5 Reasons Creative Geniuses Like Einstein, Twain and Zuckerberg Had Messy Desks – And Why You Should Too On the day Einstein died, Time photographer Ralph Morse eschewed the crowds of reporters and other photojournalists gathered at Princeton Hospital, and instead found his way to Einstein’s office at the Institute of Advanced Studies. He snapped a single picture of the legacy of the world’s greatest mind. What that picture (below) shows is chaos. Not an inch of Einstein’s desk is free of paper. Books, manuscripts, magazines, and envelopes are everywhere (alone with what looks like a cookie jar). The same goes for the shelves. It’s a mess, and he liked it that way. Empty desks are all the rage. Minimalist, paper-free offices are the current trend with a place for everything and everything in its place. But for creative minds this might be the worst possible way to work. 01. Psychologist Kathleen Vohs, from the University of Minnesota’s Carlson School of Management, was interested in whether there was any social purpose to messiness. She and her group set out to test this hypothesis. 02. 03.

L'innovation Le changement a ses raisons que le désir reconnait. Malgré la présence d'indicateurs faibles qui viennent contredire la qualité des solutions mises en place, les concepteurs de formation, de par leur fonction de régulateurs des compétences en entreprise, entretiennent une démarche conservatrice de leurs actions. La priorité va à la consolidation des solutions au lieu d'étudier à nouveau la situation pour construire de nouvelles solutions adaptées et performantes. D'aujourd'hui à demain, de la formation perçue à la formation désirée Quels sont les manques actuels dans les dispositifs de formation actuels ?Quels sont les avantages nouveaux possibles ? De votre passé à votre avenir pédagogique. Cette question du sens où chacun comprend ce qu'il fait et pourquoi il le fait participe à l'élaboration d'un projet de changement par l'intégration du désir, des contraintes et des critères d'évaluation.